LIBRARY OF CONGRESS, 

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UNITED STATES OF AMERICA. 



LESSONS 

IN 



EXPRESSION 

AND 

PHYSICAL DRILL 




BY 

DARIEN A. STRAW 

Principal of Preparatory Department,- and Professor in 
Wheaton College, Illinois. 



DRAWINGS BY GEORGE MARMON. 



( SEP 15 1892 

Jf7Sfx 

CHICAGO! ' ' 

ALBERT, SCOTT & CO. j^ 

1892. 



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Copyright 1892, 
By Darien A. Straw. 



CONTENTS. 



Charts of Interpretation— Elements of Voice. 

-Elements of Action. 

Part First — Studies in Voice; Physical Exercises. 

Lesson I. Expression, in general; Drill Position. 

II. Elements of Voice; Speaker's Position. 

III. Quality; Flexion of the Arm. 

IV. Quality; Coiling the Arm. 
V. Exercises in Quality; Foot Movement. 

VI. Force; Scroll Movement of the Hand. 

VII. Pitch; Abdominal Breathing. 

VIII. Movement; Costal Breathing. 

IX. Inflection; Chest Breathing. 

X. Form; Flexion of the Waist. 

XL Stress; Flexion of the Neck. 

XII. Stress; Torsion of the Body. 

XIII. Articulation of the Vowels; Torsion of the 
Arms. 

XIV. Articulation of the Consonants; Torsion of 
the Neck. 

XV. Articulation; Percussion of the Chest. 

XVI. Obscure Sounds; Percussion of the Neck. 

XVII. Pauses; Tip-toe Exercise. 

XVIII. Pauses; Dead-still Exercise. 

XIX. Climax; Tracing Exercise of the Hand. 

XX. Emphasis; Circular Arm Movement. 

XXI. Poetic Reading; Extension Exercise. 

XXII. Sound and Sense; Foot Movement. 

XXIII. Sentiments; Finger Exercise. 



Part Second— Studies in Action ; Vocal Exercises. 
Lesson XXIV. Direction of Gesture; Exercise in Emo- 
tional Voice. 
Supine Hand; Laughing Exercise. 
Averse Hand; Salutation Exercise 
Index Hand; Response Exercise. 
Clenched Hand; Projecting the Voice. 
Prone Hand; Interrogation Exercise. 
Reflex Hand; Exclamation Exercise. 
The Arm; Invitation Exercise. 
Positions of the Feet: Exercise in Com- 
mand. 
Positions of the Body: Recitation Exer- 
cise. 
XXXIV. The Head; Recitation Exercise. 
XXXV. The Head; Recitation Exercise. 
XXXVI. The Countenance; Recitation Exercise. 
' XXXVII.. The Countenance; Recitation Exercise. 

Part Third— Selections For Analysis and Practice. 



XXV. 

XXVI. 

XXVII. 

XXVIII. 

XXIX. 

XXX. 

XXXI. 

XXXII. 

XXXIII. 



Lesson XXXVIII. 



XXXIX. 

XL-XLI. 
XLII-XLIII. 

XLIV-XLVI. 
XLVII-XLVIII. 
XLVIX-L. 
General Index. 
Alphabetical Index of Authors Quoted 



Styles of Composition: The Open 

Window. 
The Open Window. 
Hohenlinden. 

The Main Truck, or A Leap for Life. 
Having a Clean Mouth. 
The American Flag. 
Liberty. 



CHART OF INTERPRETATION, 
Showing the Primary Meaning of the Elements of Voice. 



T. Quality. — 1. Pure Tone Xormal 

2. Orotund Xoble Sentiment. 

3. Aspirate Secrecy. 

4. Oral Weakness. 

5. Pectoral Scorn. 

0. Guttural Hate. 

7. Nasal Carelessness. 

II. Force. — 1. Subdued Quietness. 

2. Moderate Xormal. 

3. Energetic Animation. 

4. Impassioned Passion. 

III. Pitch. — 1. High Ungoverned. 

2. Medium Xormal. 

3. Low Power. 

IV. Movement. — 1. Rapid Lightness. 

2. Moderate Xormal. 

3. Slow Heaviness. 

V. Inflection. — 1. Rising Advance. 

2. Falling Cessation. 

3. Circumflex — a. Rising. . .Appreciation. 

b. Falling . .Depreciation. 

4. Monotone Sublimity. 

VI. Form. — 1. Effusive Steadiness. 

2. Expulsive Xormal. 

3. Explosive Excitement. 

VII. Stress.— 1. Radical Xormal. 

2. Median Gentleness. 

3. Final Determination. 

4. Compound Double meaning. 

5. Thorough Sublimity. 

6. Tremor Sorrow. 

4 



CHART OF INTERPRETATION, 
Showing the Primary Meaning of the Elements of Action. 



I. Hand. — 1. Position — a. Supine Friendliness. 

b. Averse \ version. 

c. Index Definiteness. 

d. Prone Super-position. 

e. Clenched Force 

/. Reflex — Contained in the hand. 

2. Direction— a. In Longitude: (1) Front Directness. 

(2) Oblique. . .In general. 

(3) Lateral Breadth. 

(4) Oblique Backward . .The past. 

(5) Backward 

6. In Latitude: (1) Up. 

(2) Upper Superior. 

(3) Horizontal.. Ordinary. 

(4) Lower Inferior. 

(5) Down. 

II. Arm. — 1. Full Arm Oratorical. 

2. Fore Arm Conversational. 

III. Feet.— 1. First Position Normal. 

2. Second ' • " 

3. Third " Animated. 

4. Fourth " 

5. Fifth •• Dramatic. 

G. Sixth " 

IV. Body. — 1. Composed Normal. 

2. Forward Progress. 

3. Backward Revulsion. 

4. Wavering Embarrassment. 

V. Head. — 1. Erect Self- Possession. 

2. Inclined — a. Forward Care. 

b. Backward Freedom, 

c. Sidewise Questioning. 

:>. Projected — a. Forward Submissiveness. 

b. Backward Will. 

• 4. Firm Positi veness. 

5. Lax Rest. 

VI. Countenance.— 1. Eye— a. Active Objective. 

b. Passive Subjective. 

i. Brow — a. Tranquil Normal. 

b. Knit Perplexity. 

c. Raised Admiration. 

d. Lowered Dislike. 

e. Furrowed Sorrow. 

3. Lips — a. Firm Precision. 

b. Drooping Vacancy. 

c. Curled Scorn, 

5 



PREFACE. 



To make a book on a subject which has been publicly 
discussed ever since the classic days of Greece, without 
largely using the thoughts of others, would probably 
be unwise if not impossible. But changed conditions 
and new methods of instruction constantly call for 
the putting of old thoughts into new form. This little 
book is an effort to answer one of those calls. 

I have here embodied a series of lessons which I have 
used for some years past in classes of beginners. I 
have found a number of the most excellent books to be 
designed for use in schools of oratory, and therefore not 
suited for the ordinary school or academy; others were 
manuals rather than text-books for class use. In order 
to put into the hands of the class a book setting forth, 
as nearly as possible, the work that they would be ex- 
pected to do, this volume was prepared. Instead of 
making a mere orderly treatise I have combined in 
each lesson theory and practice ; also both vocal and 
physical work. The practical advantages in this plan 
are apparent in preserving the enthusiasm of the class 
by a change from one exercise to the other, in avoiding 
weariness of weak bodies or voices, and in keeping their 
skill nearly at a par with their knowledge, for if a pupil 
sees too many faults in his performance he is likely to 
give it up in disgust. Neither voice nor action should 
be cultivated without the other, for, in the first place, 
each aids the other, and, secondly, if a pupil attains 




PREFACE. 



proficiency in one without the other he is likely to dis- 
parage the part he has omitted and thus fail ever to 
attain to his best. Yet, while following this plan, I 
have not been unmindful that classification and relation 
of parts are of the utmost importance in a text-book. 
I have therefore made the lessons to proceed continu- 
ously and progressively in a two-fold chain throughout 
Parts First and Second, and combined the several ele- 
ments of expression in the practice of Part Third. 

Realizing the difficulty of conveying on paper a def- 
inite idea of sounds, yet knowing that special teachers 
are not available in a large majority of the schools 
called upon to teach the art of Expression, I have un- 
dertaken, by definite statement, by illustration, by 
example and by suggestion, to make the subject clear 
to the ordinary reader. It is hoped, therefore, that it 
will enable any teacher of fertile mind to conduct a 
class successfully in this most used and most abused of 
all arts. 

The varying nomenclature which is used by different 
authors on this subject adds another element of diffi- 
culty. I have followed that which seemed most likely 
to commend itself for general use. 

Considerations of health, culture, and every-day 
necessity, all emphasize the desirability of giving to 
every American youth some course of training that 
shall develop his natural powers of expression. This 
book is not designed to make elocutionists nor to in- 
trench on the work of the specialist. It aims to apply 
fundamental principles to a universal need. To com- 
municate one's thought truly, requires his voice and 
body to be under control of his own will. This is a 



8 PREFACE. 

physical culture which implies soul culture. Helping 
young people to discover ill temper in the voice, care- 
lessness in the walk, selfishness in the bearing, and 
laziness in the words, and giving them facility to 
avoid these, avails more than business proverbs and 
social precepts. This, then, is an effort to help teachers 
in giving to pupils the power of self command. 

I desire to express indebtedness to J. B. Lippincott 
Co., Houghton, Mifflin & Co. and others for kind per- 
mission to quote from their publications, and to make 
grateful acknowledgment to all whose writings have 
suggested ideas herein contained. I do not claim to 
have originated any part of the science of expression, 
but trust I may have developed it a little in the direction 
of what seems to be the present need, and hope that 
this book may aid in the more general and more satis- 
factory teaching of that science. 

D. A. Straw. 
Wheatoti, III, Aug. 15,1892. 



HINTS TO TEACHERS. 

It will be found desirable: 

Often to join with the pupils in the exercises; 

To secure promptness without haste; 

To not call too much attention to errors at first ; 

To use concert work to reduce peculiarities; 

To require individual work to secure accuracy; 

To evolve other questions in the line of those sug- 
gested; 

To encourage pupils to apply the principles evolved 
to cases that occur to them; 

To urge free criticism under the teacher's direction; 

To constantly review; review, review. 



PART FIRST. 

Studies in Voice; Physical Exercises. 



LESSON I. 
ELOCUTION. POSITION. 

1. At the beginning of onr study let us learn defin- 
itely what it is. 

Elocution is the Expression of Thought by- 
Voice and Action. In fact, it is a study of how best 
to do our talking. Some thoughts can be adequately 
expressed by words alone, as: "This is the first day 
of the school year. 1 ' But other thoughts are more fully 
expressed by the aid of some action, as a pleasant look 
when one says, " I am glad to see you." Say it with a 
stern face and see if it expresses the same meaning. 
Again there are thoughts which are best expressed 
without any words, as a teacher's quick look and 
uplifted hand when he wishes sudden silence. A little 
observation will show us that the hand, the head, the 
eye, the brow, the body and the feet all talk or help 
to express our thought, together with that wonderful 
organ, the voice — an organ with a thousand stops, or 
changes of expression. 

2. Now rise and take the Drill Position, heels to- 




Drill Position. 
Fig. 1. 



p. 10 



DRILL POSITION. 11 

gethor, toes turned out from 45 to 90 degrees apart,, 
knees straight, body erect, head well back, chin slightly 
curbed, chest expanded, arms down at the side witli 
the edge of the hand forward. A good test of erect 
position is to stand with the back against a door or 
other vertical plane so that you touch it in four places — 
with the heels, the hips, the shoulders, and the head. 
If you find it difficult to do this there is the more 
reason for persevering in an erect position. 

3. Practice on the vocal, o. Pronounce it as you 
would speak. Now prolong it. Again, making it as 
smooth as possible. Practice this till it is smooth, 
mellow, and round as a flute tone. The same in con- 
cert till all the voices harmonize as one full tone. 
Avoid any attempt at loudness, but listen to the tone . 
to see if it is correct. 

Suggestive questions: — According to the definition, 
where is Elocution useful? In public speaking? In 
conversation? In business? In society? In the home? 
Have you noticed those whose voice or action in speak- 
ing pleased you? And others whose voice or action 
was disagreeable to you? Can you tell why? Can you 
get one's thought as well when you dislike his manner 
of expressing it? 






12 STUDIES in voice; physical exekcises. 



LESSON II. 
ESSENTIAL, ELEMENTS OF VOICE. POSITION. 

4. With the Drill Position (p. 10) repeat the prac- 
tice in Art. 2. 

5. We have seen that thought is expressed by voice 
and action. Now, pursuing our study we shall see that 
there are several attributes of voice which may be 
changed. For instance, one will answer a question 
very differently as it pleases him or arouses other 
feelings. See if you answer these questions with the 
same kind of voice. "Would you like to have a school 
picnic the next pleasant day ? " " Would you like to 
have a dog bite you on your way home? " If you can 
see a difference in the tone, tell what the difference is. 
Possibly you could tell it better if you had some names 
for tones. 

6. Voice varies in Quality, Force, Pitch, Movement, 
Inflection, Form, and Stress. 

7. Quality is the Kind of Tone. The quality 
of our ordinary tone should be clear, smooth, and mel- 
low like that of a flute — Pure Tone. For examples see 
Arts. 9, 28, 281. 

8. Take the Speaker's Position — body and head 
erect, chest expanded, one foot advanced so that the 




Speaker's Position. 
Fiff. 2. 



P. 13 



14 STUDIES IX A'OICE; physical exercises 

heel is toward the hollow of the other and one or two 
inches from it, toes turned out as in the Drill Position. 
If you stand long, change by a single step forward or 
back so that the feet occupy one of these positions, 
that is, with the right foot advanced, which we will 
call 1st Position (Fig. 2), or with the left foot ad- 
vanced, which we will call 2nd Position. 

9. With the Speaker's Position, using Pure Tone, 
recite the following as if they were your own words: 

Under a spreading chestnut tree 

The village smithy stands; 
The smith, a mighty man is he, 

With large and sinewy hands; 
And the muscles of his brawny arms 

Are strong as iron bands. 

— H. W. Longfellow. 

Suggestive questions :— Which of these two positions 
do you habitually use most, Drill Position or Speaker's 
Position? Which would soonest weary you if you 
were to remain standing? Have you seen people stand 
in any other position while talking? In Article 9, to 
whom is the speaker represented as speaking- — to a 
friend, to a public audience, or to himself? Did you 
speak it in that way? Is the speaker excited or calm? 
Interested or indifferent? 

Note. — If sufficient time can be given to this study, all the 
examples for practice should be memorized. If this is not pos- 
sible, some selection in each lesson should be committed to 
memory, thus enabling the pupil to deliver it more entirely as 
his original thought. He should accustom himself to talk with- 
out anything in his hands. He can also give more perfect ex- 
pression to the ej T es and hands if he is not hampered with a 
book. Give much practice to every exercise. If a pupil acquires 
skill in criticizing, much faster than he gains power to execute, 
he sees his own faults too prominently and is liable to become 
discouraged. 



QUALITY. 



15 



LESSON III. 



FLEXION MOVEMENT OF THE ARM. QUALITY. 

10. Take the Drill Position- 
now without moving the shoulders, 
chest or head, swing the amis slowly 
from the shoulder, letting the elbow, 
wrist, and finger joints be entirely 
limp. Let them flap clear around 
the body as if there was not a bone 
in them except the upper arm. Swing 
first the right arm eight times, then 
the left arm eight times, then both 
together eight times. Repeat. Per- 
severe in this Flexion Movement of 
the arm until you can swing it with- 
out the wrist or hand seeming stiff.* 

1 1. Quality is either — 

Pure Tone, used in ordinary speaking (see Art. 7)j 

Orotund, large, full and round; 

Aspirate, whispering, simply breath without tone; 

Oral, falsetto, used in extreme weakness, etc. ; 

Pectoral, hard, shrill tone, expressing scorn, etc. ; 




Flexion Exercise. 
Fig. 3. 



*Xote. — All the drill exercises and examples for practice 
should be drilled over and over throughout the term as often as 
opportunity permits. 



16 STUDIES ix voice; physical EXERCISES. 

Guttural) throat tone, expressing hatred, or 
Nasal, nose tone, talking through the nose. 

12. With the Speaker's Position practice o in Pure 
Tone (Art. 3.) 

13. Now practice o in Orotund Quality. Let the 
larynx and mouth cavity be enlarged, the tongue down 
out of the way, the tone thrown forward full and 
round as if talking to a thousand people. Do not 
cramp the voice or make an apparent effort, but " just 
open the mouth and let it come out," free, smooth, and 
easy. Pure Tone and Orotund should be practiced 
much and every day as they are the best qualities. 
(For examples see Arts. 29, 72, 171.) 

14. Now practice o in a whisper, Aspirate Quality. 
You will notice that you can give it loud enough to be 
heard by any ordinary audience. (See Arts. 30; 209, 
b, and first words of 261.) 

15. Now if you can imitate the tone of a little child 
you will have Oral Quality. It is clear but thin and 
small, just the counterpart of Orotund. It is usually 
pitched higher than Pure Tone, and may vary in loud- 
ness from the scarcely audible to a scream. (See Art. 
31.) 

16. Repeat Article 9. 

Suggestive questions: — How would it do to speak 
the quotation in Art. 9 in Orotund Quality? In Oral 
Quality? Why does not one quality render it as well 
as another, since the words remain the same? Which 



QUALITY. 17 

quality best expresses noble thought? Grandeur? 
Secrecy? Sudden fright? Which would be used by a 
sick person who was so weak he could hardly speak? 
What sentiment would be expressed if you combine 
Aspirate with Pure Tone? 




18 



STUDIES ix voice: physical exeecises. 



LESSON IV. 



ARM EXERCISE. QUALITY— Continued. 

17. Repeat Article 10. 

18. With the Drill Position, extend the right arm 

horizontally at the 
side; arm, hand, and 
fingers straight. 
Now, slowly and 
steadily, coil the 
arm, commencing 
by closing the fin- 
gers; then fold in 
the wrist in the same 
direction, then the 
elbow, and last the 
shoulder, till it is all 
coiled in upon the 
chest as tightly as 
possible. But be 
sure that you do not 
bend any joint until 
in the order named. 

Com^the aS. Now > gradually mi- 
Fig. 4. coil, commencing 




QUALITY. 10 

with the shoulder, and straighten each joint in succes- 
sion to the fingers. Now drop the arm from the hori- 
zontal down at the side. Pursue the same order with 
the left arm, then with both together. In these arm 
movements, as in all, keep the chest and head still. 

19. With the Speaker's Position, repeat Articles 12, 
13, 14 and 15. 

20. To get Pectoral Quality use the vocal a. Prac- 
tice it until your tone expresses perfect scorn — a hard, 
penetrating, resonant tone. It is called Pectoral or 
chest tone, because when it is fully used you can feel 
the chest vibrate. (See Arts. 32, 75; first part of 204, 
<i; 240.) 

21. We must now give the Guttural Quality, for it 
is needed sometimes; but our chief reason for study- 
ing it is that we may know it and avoid it. You 
will get it most easily with the vocal u. It is expres- 
sive of hatred, and is well exemplified in the growl of a 
dog. It is the throat tone. (See Arts. 33; last part of 
204, a.) 

22. The JVasal Quality does not express anything, 
unless it is carelessness, and yet a great many people 
use it "habitually. We must practice till we learn it 
and then avoid it in our talking. The vocal e is easy 
to give in Nasal — through the nose. Observe how dis- 
agreeable some voices are because of this quality, like 
a cracked bell or a violin with a comb on the strings. 



20 STUDIES IX VOICE, PHYSICAL EXERCISES. 

23. Try each quality on the stanza in Art. 9 and see 
which suits it best. 

Suggestive questions: — What quality do you use 
when asked to do some task which you dislike ? If you 
wish to make people happy with whom you talk, what 
quality will you use ? If you wish to make them angry? 
If you wish to silence a troublesome fellow ? Do you 
think a dog understands best the words, or the tone ? 
What quality would you use to coax him ? To com- 
mand him ? To drive him off ? What quality has the 
tone of a bass drum ? The railroad engine's whistle ? 
A boy's whistle ? A canary bird's voice ? A crow's 
voice ? A donkey's voice ? Different bells with which 
you are familiar ? 



EXERCISES IN QUALITY. 2] 



LESSON V. 

FOOT MOVEMENT. EXAMPLES FOR PRACTICE 
IN QUALITY. 

24. Repeat Article 18. 

25. Take First Position (Art. 8) and by slow, easy 
movement take one step forward to Second Position 
(Art. 8). Let it be graceful, witbout any jerk or jar 
at starting or stopping. Now one step forward to First 
Position. One step backward to Second Position. One 
step backward to First Position. This exercise should 
be frequently practised until the transitions can be made 
with the " suppleness and grace with which a catwalks." 

26. Practice o in each Quality, individually and in 
concert. 

27. Repeat the following quotations as the thought 
demands, noting the fitness of the Quality indicated to 
express the sentiment of each example. 

28. Pure Tone:— 

All are architects of Fate, 
Working in these walls of Time ; 

Some with massive deeds and great 
Some with ornaments of rhyme. 

— Longfellow. 

29. Orotund:— 

Roll on, thou deep and dark blue ocean, roll. 
Ten thousand fleets sweep over thee in vain. 



22 studies in voice; physical exercises. 

Man marks the earth with ruin. His control 
Stops with the shore. 

— Byron. 

30. Aspirate: — 

Hush ! hark ! did stealing steps go by ? 
Came not faint whispers near? 

31. Oral:— 

Give me three grains of corn, mother, 

Only three grains of corn. 
To keep the little life I have 

Till the coming of the morn. 

32. Pectoral: — 

I ne'er will ask ye quarter, 

And I ne'er will be your slave ; 

But I'll swim the sea of slaughter 
Till I sink beneath its wave. 

— Geo. TT. Patton. 

33. Guttural: — 

I hate him for he is a christian : 

If I can catch him once upon the hip. 

I will feed fat the ancient grudge I bear him. 

— Shakespeare. 

34. Nasal:— 

Then, as to your spellin'; I've hearn tell 

By them as has looked into this, 
That you turn the u out o' your labour. 

An' make the word shorter than 'tis. 

— Carleton. 

Strive to make the thought in the above examples 
your own, and speak them as if the original occasion 
were present. Give the voice freedom in expression, 
even to enthusiasm. 

35. Select or invent other examples to illustrate the 



EX&RCISB8 IN QUALITY. 23 

different Qualities. Notice the Quality used in conver- 
sation, in the play-ground and on the street. Cultivate 
the habit of using only pure tone unless the occasion 
requires some other. Notice the shades of feeling 
which each Quality will represent. 

Suggestive questions: Which quotation contains the 
most emotion, Art. 28 or Art. 29 ? What emotion is it ? 
What seems to he the situation which occasioned Art. 
30 ? How does the speaker feel ? Who is talking in 
Art. 31 ? In what condition is he ? In Art. 32 who is 
speaking ? To whom ? What sentiment in it ? How 
would it do to read Art. 33 in Pure Tone ? What do 
you judge as to the culture and education of the speaker 
in Art. 34 ? Would it fairly represent such a man to 
speak his words with a cultured tone of voice ? 



24 studies in voice; physical exercises. 



LESSON VI. 

ARM AND HAND EXERCISE. STUDIES IN 
FORCE. 

36. Repeat Article 25. 

37. Drill Position. Right hand raised nearly to the 
horizontal in front. Pass the hand to the right in a 
double curve and return it to the place of starting so 



Fig 5. 
as to describe a figure 8, as shown in Fig. 5. Let the 
movement be slow, steady, easy and graceful, and keep 
the front edge of the hand ahead — let the first finger 
lead. Follow this circuit several times, keeping the 
hand open and the wrist flexible. Now, left hand the 
same. Then both hands together. 

38. Force is the intensity with which a tone 
is produced. 

This is not the same as what we mean by loudness, 
although it is the principal element in it. The degrees 
of Fore are very many, ranging all the way from the 



STUDIES IN FORCE. 25 

least to the greatest ; but for our purpose four degrees 
will be sufficient to name : 

39 Subdued: — Primarily indicating quietness. 
Moderate: — Used in ordinary speaking. 
Energetic : — Indicating animation. 
Impassioned: — Used in shouting or passionate 
expression. 

40. Practice on the following examples, aiming 
always to bring out as fully as possible the author's 
thought: — 

41. Subdued :- 

It was a night of holy calm when the zephyrs swayed 
the young spring leaves and whispered their dreamy 
music among the hollow reeds. 

— Kellogg. 

(Other examples Arts. 54, 80 and 98.) 

42. Moderate: — 

This was the best store we had come across yet; it had 
everything in it, in small quantities, from anvils and dry 
goods all the way down to fish and pinchbeck jewelry. 

—Mark Twain. 

43. Energetic: — 

Like heath-bird when the hawks pursue, 

A barge across Loch Katrine flew. 

High stood the henchman on the prow: 

" Speed, Malise, speed! the dun deer's hide 

On fleeter foot was never tied. 

Speed, Malise, speed! such cause of haste 

Thine active sinews never braced." 

—Scott. 
(Other examples Arts. 163, 171, 28 7.) 



26 STUDIES in voice; physical exercises. 

44. Impassioned: — 

*Forward the light brigade! 
Charge for the guns! he said. 

— Tennyson . 
Up drawbridge! groom. What, warder, ho! 
Let the portcullis fall ! 

— Scott, 

(Other examples Arts. 52, 204, a.) 

45. Repeat exercises in Articles 28-34. 

Suggestive questions: — What force would be most 
appropriate in a sick room ? In a house afire ? In a 
parlor social ? In asking for a holiday ? To whom 
would Art, 41 seem to be addressed ? Is Art. 42 the 
language of business or sentiment ? What Quality 
should be used in Art. 43 and Art. 44 ? Should all 
parts of Art. 44 be given with equal force ? What 
different persons are addressed in the latter quotation 
of Art. 44 ? Explain the meaniug of the four nouns 
in the last quotation. What occasion would warrant 
such talk ? 



*Note. — A number of exercises which require a loud tone have 
been purposely inserted for the reason that a powerful voice can- 
not be acquired without full exercise. Many children, especially 
in cities, live where they cannot shout without disturbing the 
neighbors, so all their games and sports have been comparatively 
quiet. The result is weak voices. Some shouting exercise should 
be introduced every day in this study. The relief that it affords 
in the midst of school work will enable them to be quieter after 
it. A famous reader entered the newsbovs' ranks and sold papers 
to develop his voice. 




EXERCISES IN PITCH. 



LESSON VII. 



27 



BREATHING EXERCISES. PITCH. 
46. Before going further we must give some atten- 
tion to the maimer of breathing. Although all people 
breathe, few breathe to the best advantage. We should 
use all parts of the lungs in breathing. There is a 
common tendency to use only the upper portion. When 
this habit is formed the lungs become weak, and disease 
is apt to follow. Furthermore, such breathing immedi- 
ately injures the voice so that bronchitis and other 
" throat troubles'" are a common result. 

47. Drill position, hands above the 
hips with the fingers forward about the 
waist. Inhale slowly through the nose 
and exhale through the mouth with the 
sound of h. Keep the shoulders and 
chest still and breathe to the depth of 
the lungs so that you can feel the abdo- 
men expand as you inhale. When the 
lungs are as full as they will comfort- 
ably hold, gradually exhale, keeping 
the sound of h steady until the air is 
well exhausted. You will notice that 
the abdomen contracts as you exhale. 
Fig. 6. Continue this steady deep breathing 




28 

for two minutes; provided that if you feel any unpleas- 
ant sensation in the head resulting from it, you should 
sit down and rest a moment. After this exercise, prac- 
tice inhaling suddenly, holding the breath a moment, 
then exhaling suddenly. Be sure that the breathing is 
abdominal, however, keeping the chest and shoulders 
still. 

48. Repeat Article 37. 

49. Pitch is the place on the musical scale 
at which a tone is produced. 

Pitch varies in different voices, each one covering 
nearly an equal range which might be divided into many 
grades but five will be sufficient for our purpose. 

50. Very High. Commonly indicating passion. 
Sigh, 

Medium. Ordinary pitch. 
Low. 
Very Low. Gloomy thought or power. 

5 1 . Very high pitch may be exemplified in the scream 
of fright — "O-o-o! the mouse!" 

The cry of pain — " O-o-o! Johnnie hit me with a snow- 
ball! o-o-o-o!" 

The shout of glee — "O! hurra! we'll all ride down 
hill on one sled! " 

The cry of anger — "O! you struck me on purpose! 
I'll pay you for that! " 

Practice on the following: — 



EXERCISES IN PITCH. 29 

52. High Pitch:— 

Ye crags and peaks, I'm with you once again. 
I call lo you with all my voice. 
(Other examples, Arts. 216, b; 236; loY; 237.) 

53. Medium:— 

Full many a gem of purest ray serene, 

The dark unfathomed caves of ocean bear: 

Full many a iiower is born to blush unseen, 
And waste its sweetness on the desert air. 

— Or ay. 

54. Low: — 

'Tis midnight's holy hour, and silence now 
Is brooding like a gentle spirit, o'er 
The still and pulseless world. 

— Geo. D. Prentice. 

(Other examples, Arts. 64; 82, c; 100.) 

55. Very Low: — 

I am thy father's ghost, doomed for a time to walk 
the night, and by the day to fast in fires 'till the foul 
crimes done in my life are burnt and purged away. 

— Shakespeare. 

56. Repeat Articles 41-44. 

Suggestive questions: — About how much do we in- 
hale at an ordinary breath ? In the deepest breath ? 
What different effect on the blood and the brain ? 
What Pitch is most quieting to the nerves ? What 
Pitch expresses most authority in giving a command ? 
In what Quality can you give the highest Pitch ? 
Which use higher Pitch, men or women ? Children 
or grown people ? In what pitch do people laugh ? 
Cry ? Grumble ? Quarrel ? Comfort ? Coax ? Tease ? 



30 STUDIES in voice: physical exercises. 



LESSON VIII. 
EXERCISE IN COSTAL. BREATHING. MOVEMENT. 

57. Repeat Article 47. 

58. Drill Position. Hands at the waist with the 
fingers backward. Breathe as before 
except that you expand the waist at 
the back instead of in front. This we 
shall remember as Costal Breathing. 
It gives the lungs their fullest capa- 
city, and gives the voice its greatest 
strength. 

59. Repeat Article 18. 

60. Movement is the rate of 
utterance. 

61. This may be 
Rapid, as in haste or excitement. 
Moderate, as in ordinary speaking, or 
Slow, as expressing greatness of 

thought, or depression of spirits. 
Vocal Practice. 
62. Rapid Movement: — 

A hurry of hoofs in a village street, 
A shape in the moonlight, a bulk in the dark. 
And beneath from the pebbles in passing, a spark 
Struck out by a steed that flies fearless and fleet. 

— Longfellow. 

(Other examples, Arts. 157; 163; 172; 258, a.) 




MOVEMENT. 31 

63- Moderate Movement:— 

O, a wonderful stream is the river Time, 
As it flows through this realm of tears; 
With a faultless rythm and a musical rhyme, 
And a boundless sweep and a surge sublime, 
As it blends with the Ocean of Years. 

— B. F. Tat/lor. 

64. Slow Movement: — 

O! thou that roll'st above, round as the shield of 

my fathers, whence are thy beams, O. Sun? thine 

everlasting light ? 

— Ossian. 

(Other examples, Arts. 100; 171; 199, e; 216,6.) 

65. Repeat Articles 52-55. 

Suggestive questions: — Can you read Art. 62 so as to 
imitate the sound of the horse's hoofs ? Can you ex- 
press the thought best if you see the horse in imagin- 
ation ? What Quality should be used in Art. 64 ? 
Which needs greater Force, Art. 63 or Art. 64 ? Will 
a youth or a man talk with more rapid Movement ? 
What Movement to express grand thoughts ? Joyful 
thoughts ? 



32 studies IN voice; Physical exercises. 



LESSON IX. 
EXERCISE IN CHEST BREATHING. INFLECTION. 

66. Repeat Article 58. 

67. Drill Position. Hands on the chest. Breathe 
as before except that yon use chiefly the upper part of 
the lungs, expanding the chest as you inhale — chest 
breathing. 

68. Repeat Art. 37. 

69. Inflection is a slide in the pitch of a 
tone. 

Note. — In the application of Inflection or Stress to our speech, 
each unit of thought is a unit for the Inflection or Stress. Thus 
what is said of "atone" in the definitions (Arts. 69 and 86) may 
be continuous through a word or phrase, or even a clause. For 
illustration, the sentence, "The bird | in the tree-top | sings | as 
it swings," consists of four thought-units: the subject with its 
article, the subject modifier (phrase), the verb (one word), the 
modifier of the verb (a clause). Each of these would receive one 
slide of Inflection, and one impulse of Stress. In other cases of 
greatly condensed or very emphatic speech each word may be 
individualized as a thought-unit requiring its own Inflection or 
Stress. 

When we speak, the voice is almost continually sliding 
in pitch. In singing, the pitch usually remains un- 
changed throughout the tone. Herein consists the 
principal difference between singing and speaking. 

70. Under this subject we may consider: — 

a. Monotone: The absence of inflection, ex- 
pressive of sublimity. 



INFLECTION. 33 

b. Rising Inflection. / Prevails in hope 

and joy. 
(Examples, Arts. 89; 187, c. ) 

c. Falling Inflection. \ Prevails in sad- 

ness and discouragement. 
(Examples, Arts. 143, a; 193, c.) 

( Rising ^^—s ) 

d. Circumflex. 1 > 

( Falling ^-v ) 

71. Practice on the vocal o, sliding the voice as indi- 
cated in the lines above until you can direct the 
inflection at will. 

Practice the following examples: — 

72. The heavens declare the glory of God; and the firma- 

ment showeth His handiwork. 
Day unto day uttereth speech, and night unto night 

showeth knowledge. 
There is no speech nor language where their voice is 

not heard. 
Their line is gone out through all the earth; and their 

words to the end of the world. 

19th Psalm. 

73. " Are you going home? " 
"No, to town." 

"To town?" 

' ' Yes, why ? " 

"I like company." 

" Then why not ride to town? '' 

"Why not? I will." 

74. " Do you know me, my lord? " 

"Excellent well. You are. a fishmonger." 
" Not I, my lord." 



34 studies in voice; physical exercises. 

" Then I would you were so honest a man." 
•' Honest, my lord? " 

" Ay, sir; to be honest, as this world goes, is to be one 
man picked out of ten thousand." 

— Shakespeare . 

75- Banished from Rome! What's banished, but set free 
From daily contact with the things I loathe ? 
"Tried and convicted traitor? " Who says this? 
Who'll prove it, at his peril, on my head? 
Banished — I thank 3011 for 't. It breaks my chain ! 
"Traitor! " I go — but I return. This — trial ! 
Here I devote your senate! I've had wrongs 
To stir a fever in the blood of age, 
Or make the infant sinews strong as steel. 

— Groly. 

Suggestive questions: Explain the various meanings 
suggested by saying the word, " What? " with different 
inflection — Rising, Falling, Rising Circumflex, Fall- 
ing: Circumflex. With what inflection do you say 
"What?" when you doubt the truth of what was 
said? How do you say "What?" so as to rebuke a 
speaker for his statement ? When you are gladly sur- 
prised at the statement ? When you are disagreeably 
surprised by the statement ? When you answer a call 
in such a way as to show that it was an unwelcome 
interruption ? 



EXERCISE OF THE WAIST. 35 



LESSON X. 
EXERCISE OF THE WAIST. FORM. 

76. Repeat 67, and remember that the tendency with 
most people is to breathe in that way too ranch, failing 
to use the lower part of the lungs; so be sure that your 
ordinary breathing is abdominal and costal. 

77- Drill position. Hands at the waist. Bend the 
body, at the waist only, forward slowly and gradually. 
Let it bend down as low as you can comfortably with- 
out bending the knees. Then slowly straighten up to 
erect position. Then bend backward similarly and 
return to erect position. Now in a similar manner to 
the right and to the left, bending only at the waist. 
Repeat. 

78. Form is the manner in which the voice 
issues from the vocal organs: that is, whether 
suddenly or gradually. The words may burst forth 
with the suddenness of a pistol shot, or flow forth 
smoothly as oil. Between these extremes the voice 
varies. 

79. Effusive Form — Smooth and flowing. 
Expulsive Form — Medium, used in ordinary 

voice. 
Explosive Form — With the greatest suddenness. 



36 STUDIES in voice; physical exercises. 

Distinguish clearly between Form and Movement. 

The former refers to the words individually, the latter 
to the combination of words. The words may be 
spoken in Effusive Form and the Movement at the same 
time may be Rapid. 

Practice the following, throwing yourself into the 
spirit of the author and uttering the thought as your 
own. 

80. Effusive:— 

Now fades the glimmering landscape on the sight. 

And all the air a solemn stillness holds, 
Save where the beetle wheels his droning flight. 

And drowsy tinklings lull the distant folds. 

Gray. 

(Other examples, Arts. 98, 100, 255, 271.) 

81. Expulsive: — 

Society is the great educator. More than univer- 
sities, more than schools, more than books, society 
educates. Nature is the schoolhouse. and many les- 
sons are written upon its Avails; but man is the 
effective teacher. — Orville Dewey. 

(Other examples, Arts. 245, 277.) 

82 Explosive: — 

a. Ring, happy bells, across the snow. 

— Tennyson: In Memoriam. 

b. Halt J the dust brown ranks stood fast. 

Fire! out blazed the rifle blast. 

— Whittier: Barbara Fritchie. 

c. But hush! hark! a deep sound strikes like a rising 

knell. — Byron. 

(Other examples, Arts. 89, 101. 258, 279.) 



EXERCISE OF THE WAIST. 37 

83. Repeat 72-75. 

Su \g (jestive questions: If someone should suddenly 
frighten you so that you said " Oh ! " what Form of 
voice would you use? In what Form do you laugh ? 
What Form expresses quiet peacef ulness ? Urgent 
business? Weariness ? Sublimity ? What Quality 
and Force in Art. 80 ? What Pitch in Art. 82, a? 
What Quality and Inflection in Art. 82, c ? 



STUDIES IN VOICE; PHYSICAL EXERCISES. 



LESSON XL 
EXERCISE FOR THE NECK. STRESS. 
84. Repeat Article 11. 

85- Drill Position. Very slowly and steadily let 
the head drop forward upon the chest. Let there be no 
movement of the body; only the neck is to bend in this 
exercise. When the head is dropped forward as low as 
it can be comfortably, raise it with the same steady 
movement to erect position. Now drop the head back- 
ward in a similar manner and return. Then to the right 
and to the left in the same way. 

86. *Stress is the manner in which Force is 
applied to a tone; it depends on which part of the 
tone is made the most forcible. The ordinary hearer 
does not notice what makes the difference in a change 
of stress, because the words are spoken so quickly, but 
all recognize the difference in expression when the 
stress is varied. Ordinarily the greatest force is put on 
the beginning of each word but it changes a* occasion 
requires so that we have six definite varieties of Stress, 
as indicated by the accompanying diagrams: — 



*See note to Art. 69. 



STRESS. 



39 



a. 



87- Stress :- 

Badical, 
ordinary 

b. Median, 

r. Final, 

d. Compound. 

e. Thorough, 




f. Tremor. 

Fig. 8 
88- In order to distinguish Radical Stress, pronounce 
the word, O, as you ordinarily speak. Again, prolonging 
the sound a little. Strike it forcibly at the beginning 
and let it fade out as the tone of a bell. Now try the 
same on the words, bang, ring, drum, bell, toll, yell. 
Now try Final Stress, commencing the tone gradually 
and ending abruptly with full force. Practice on the 
words, halt, stop, drop, quit, chuck. A practical illus- 
tration of this change from Radical to Final is heard 
in the answer a canvasser receives from one who does 




not wish to buy. At first it 
then it becomes "No 
"iVo" 



and finally, 



40 STUDIES ix voice; physical exercises. 

89. Radical Stress: — 

Go ring the bells and fire the guns 
And fling the starry banner out. 

(Other examples, Arts. 142; 150, a; 156.) 

90. Final Stress: — 

We will never submit, never! never! NEVER! 
(Other examples, Arts. 150, c; 193, a and b.) 

Suggestive questio?is: What difference in Stress 
between, Ha! as in laughing, and, Ha! as said in 
reproof ? Which better expresses freedom from care, 
Radical Stress or Final? Which better expresses 
determination ? Will ? What stress in the tone of a 
bell ? In the chuh! chuh! chuh ! chuh ! of the rail- 
road engine ? What Pitch and Movement are best for 
Art. 89 ? Why ? 

Note. — The difference between Inflection and Stress may be 
illustrated by the violin: If the player slides his finger up or 
down the string, he gives to the tone rising or falling Inflection. 
If now he gradually increases the pressure on the bow through- 
out a tone he gives it Final Stress. Gradually decreased pressure 
on the bow throughout a tone would give Radical Stress. In 
general, sliding the finger on a string gives Inflection to the tone, 
while pressure on the bow determines the Stress of the tone. 



EXERCISES IN STRESS. 



41 



rfs? 



LESSON XII. 
TORSION OF THE BODY. STRESS— Continued. 
91. Repeat Article 85. 

92- Drill Position. Without moving the feet or bend- 
ing from erect position, twist the body 
slowly to the right so that the chest 
turns ninety degrees or more, then 
steadily return. The same to the left. 
Repeat several times. 

93- The grace that is added to the 
voice by a line use of Median Stress is 
worthy of tireless effort. Stress seems 
to be the principal attribute of voice 
by which will is expressed. Radical 
Stress is the common voice in which 
the will of the speaker is not manifest; 
Final Stress indicates the positive deter- 
mination of the speaker's will; while 
Median Stress indicates that moderate 
degree of will which constitutes self- 
possession. Say, " No, I will not," in 
Radical, Median, and Final Stress and 
observe the changed meaning. p. 

94. Practice Median Stress at first on the vocal, o. 




42 STUDIES ix voice; physical exercises. 

Let there be no abruptness at the beginning or end of 
the tone but full force in the middle. Then try such 
words as, beautiful, happiness, crystalline, abundant, 
mighty, highest. 

95. Compound Stress is used in cases of double mean- 
ing, as sarcasm and irony. 

96. Thorough Stress is suggestive of lofty emotion 
combined with a noble will. Keep the force equal 
throughout the tone. 

97. Tremor Stress is the trembling or wavering of 
the voice common in excessive emotion, as grief or pity. 
The expression of pathos is impossible without Tremor 
Stress. Persevere in your practice of it. Picture in 
the imagination an occasion which would require it. 
The following examples for practice will aid you in 
varying the Stress. — 

98. Median Stress: — 

Noiselessly as the spring-time 

Her crown of verdure weaves. 
And all the trees on all the hills 

Open their thousand leaves — 
So, without sound of music. 

Or voice of them that wept, 
Silently down from the mountain's crown 

The great procession swept. 

— Mrs. A lexa nder 

(Other examples, Arts. 143; 1*70; 209.) 



EXJEBCISES in STRESS. 4:i 

99- Compound Stress: — 

Authority! It' you wanted authority over me, you 
should' have adopted me, and not married me. 

My extravagance! I'm sure I'm not more extrava- 
gant than a woman ought to be. 

— R. B. Sheriden. 

(Other examples, Arts. 75, 240.) 

100- Thorough Stress. 

Hast thou a charm to stay the morning star 
In his steep course? so long he seems to pause 
On thy bald, awful head, O sovereign Blanc! 

— Coleridge. 

(Other examples, Arts. 72, 287.) 

101. Tremor Stress:— 

He's sinking, he's gone — O God, it is I, 
It is I, who have killed him — help, help! — he must die. 

— Hoppin. 

(Other examples, Arts. 199, e; 216, b; 258, c.) 

Suggestive questions : What Movement in Art. 98 ? 
What sentiment prevails in each quotation in this 
lesson ? Which requires Orotund Quality ? Which 
needs an Aspirated Quality, that is, slightly breathy, 
to denote fear or dread ? What Stress expresses quiet- 
ness V Sublimity ? Beauty ? Ridicule ? What In- 
flection is wanted with the Compound Stress in Art. 99 ? 
Which two examples in this lesson need Effusive Form ? 



44 



STUDIES IN VOICE! PHYSICAL EXERCISES. 



LESSOjS XIII. 

TORSION OF THE ARMS. ARTICULATION OP 
THE VOWELS. 

102. Repeat Article 92. 

103. Drill Position. Keeping the hands down at 
the side, twist the arms inward so that the 
hands turn through 180 degrees, bringing 
the little fingers forward. Return, and 
twist the arms outward 180 degrees, bring- 
ing the little fingers forward again, thus 
turning the hands through a complete cir- 
cuit by simply twisting the arms on their 
axes. Continue this exercise four times. 
Then extend the arms horizontally at the 
side and twist them as before. Then ex- 
tend the arms horizontally forward and 
repeat the same. 

104. Besides the seven attributes of 
voice (Art. 6), already studied, the expres- 
sion of thought requires particular atten- 
tion to Articulation, Pauses, Climax and Emphasis. 

105. By Articulation is meant the utterance 
of all the sounds. Few people articulate well; 
although few need be deficient in that important matter. 
How few people in giving you a stranger's name make 



AIM l< II, AlloN. 45 

it distinct! In conversation one is frequently compelled 
to ask for a repetition. Often public speakers annoy 
their audience by not making themselves heard. In 
nearly all these cases the trouble is in articulation. The 
listener hears a part of what is said, but the sounds 
which are lost are essential to an understanding of the 
word. It requires more skill to produce some sounds 
than others, but all are produced by muscular effort. 
Only until the hand is trained is it easier for a boy with 
a hammer to miss a nail than to hit it. Just so it is 
not absence of vocal power but lack of vocal training 
that makes so many indistinct speakers. 

1 06- There are usually no difficulties in uttering the 
vowel sounds if the pupil knows definitely what the 
sounds are. The Principles of pronunciation in the 
unabridged dictionary are very explicit on this matter 
and furnish perhaps the best available authority as to 
what those sounds are. It is always an advantage to 
the pupil to hear some one give those sounds cor- 
rectly; at any rate they must be clearly recognized in 
some way. 

107- Give especial drill to the following sounds 

which are frequently given incorrectly: — 
•• • <— > — * __ — x>> 
«, a, a, e, %, oo 3 u. *l, ic, 

(Webster's system of marking is here used.) 

108. In holding or prolonging such sounds as a, t, 

<>i. ou, let the first part of the tone be prolonged, and 



46 studies in voice; physical exercises. 

not the latter. They are compound sounds and the open 
part of the sound should receive the " hold." For the 
same reason in the sound, u, the latter part only should 
he held. 

109. Practice all the vocals in Pure Tone, Moderate 
Force, Medium Pitch, Expulsive Form, Falling Inflec- 
tion, and Radical Stress. 

110. Repeat Articles 98-101. 

Suggestive questions: In distinct conversation, are 
all the sounds uttered with equal prominence ? Which 
word is least prominent when we say, There comes a 
man 9 Which syllable is more prominent when we say. 
Washington t Which sound is least prominent when 
you say, holds ? Have you noticed that people some- 
times speak too loud to be understood? And that 
others whose voices are not nearly so noisy are easily 
understood '? What is the reason ? 



ARTICULATION. 47 



LESSON XIV. 

TORSION OF THE NEOK. ARTICULATION OF 
THE CONSONANTS. 

111. Repeat Article 103. 

112. Drill Position. Keeping the head erect, turn 
it slowly to the right so that the face is over the shoul- 
der; return slowly. Then turn to the left the same. Do 
not turn the chest any but keep it still. 

113. Give the sounds of all the consonants in order 
with especial drill on the following: — 

*> <*>/> 9>'j> s > v > x > «■ 
Practice until you can give each consonant sound 
alone; b, d and g, maybe combined with a vowel at 
first, as, ib, id and ig. After practicing a while the con- 
sonants can all be sounded full and clear without any 
vowel in combination. 

114. Observe what organs of voice are used in pro- 
ducing each sound. You will then understand why it 
requires practice to articulate strongly. The muscles 
of the lips, tongue and palate must be developed by use 
the same as those of the arm if they are to be strong. 
Compare b and p; in what are they alike, and in what 
do they differ? Also d and t; g and k; sand 2; th 
and tft. 

115- Make a list of the sounds which the lips aid in 



48 STUDIES in voice; physical exercises. 

forming — Labials. Another list formed by the tongue 

— Linguals. A list of those which the teeth aid in 

forming — Dentals. Another list formed by the palate 

— Palatals. Another list of those sounds in which the 

air column is forced through the nose, as n — Nasals. 

A list of those sounds in which the air column is 

entirely stopped — Mutes. A list of those sounds which 

may be easily prolonged indefinitely — Liquids. A list 

of the sounds which consist of breath not vocalized, p, 

t, etc. — Aspirates. A list of the sounds which consist 

of tone, vocalized breath, modified by the teeth, lips, 

tongue or palate— Sub-vocals. A list of the sounds 

consisting of tone unmodified by the lips, the tongue 

or the palate — Vocals. 

116. Practice the sounds in each of the above lists, 

as directed in Art. 109. 

Suggestive questions. Where are the vowel sounds 
formed? Have you ever heard a man talk who had no 
front teeth? Did he talk plainly? If not, why not? 
Do you like to hear a person talk when his tongue seems 
to fill his whole mouth? How shall he avoid that? 
Why is it necessary to open the mouth well in order to 
talk distinctly? Can you sound all the letters in a 
whisper — Aspirate Quality? 



CHEST PERCUSSION. 49 



LESSON XV. 

PERCUSSION OF THE CHEST. ARTICULATION— 
Continued. 

117- Repeat Article 112. 

118. Drill Position. Hands on the chest. Throw 
the shoulders up and back. Draw a full breath, as in 
Art. 67, hold it while you rap the chest sharply and 
quickly with the open palms sixteen times. After prac- 
tising this Chest Percussion for a few days regularly 
the strokes may be made heavier until the rapping can 
be done with the hands clenched. Keep the lungs full 
during the percussion. Repeat. 

119. When one can readily produce all the elemen- 
tary sounds, there are still some combinations that will 
need much attentive practice, especially cumulations of 
consonants. 

120- One common fault in Articulation is the skip- 
ping too lightly and quickly over small words. The 
fact that they are least important does not mean that 
they are unimportant. No unimportant word should be 
used at all, and a word that is worth using is worth 
speaking distinctly. 



50 



STUDIES IN VOICE: PHYSICAL EXERCISES. 



121. With 


natural voice, pronounce each of the 


following words four times in succession: — 


adz 


dearth 


pusillanimity 


aids 


duty 


quaintness 


asks 


distinctness 


rock-ribbed 


asked 


elms 


rarity 


able 


elocution 


rearward 


abler 


empty 


Seth 


ablest 


earth 


scythe 


abdal 


famed 


spent 


athlete 


fifthly 


splint 


althea 


fulfilleth 


splashed 


Alps 


faithfully 


singed 


ampler 


faithlessly 


sinning 


abominable 


gasped 


singing 


bald 


ginger 


sea-shells 


boldly 


gnarled 


succinctly 


bedlam 


holily 


somnambulist 


begged 


healthfully 


texts 


blended 


inimitably 


tenths 


blending 


innumerable 


truths 


blamable 


judged 


thither 


blamably 


jingling 


vine 


boastest 


Kaskaskia 


vivacious 


broiled 


lamentable 


valvular 


cask 


Lilliputian 


whales 


clasps 


minimum 


whence 


clasped 


memorable 


which ' 


called'st 


nonentity 


whilst 


community 


overwhelmed 


waxest 


depths 


passeth 


whisked 


did'st 


pumped 








EXERCISES IN ARTICULATION. 51 

Suggestive questions. Do you commonly find your 
self refreshed or exhausted after the physical drill ex- 
ercises? Do your muscles weary as quickly as they did 
in Lesson I? In Art. 121, can you make the lungs push 
the air till it is compressed by the vocal organs, making 
the tone tense and firm? Can you direct the words so 
as to throw them directly to the one to whom you are 
speaking? 



52 STUDIES in voice; physical exekcises. 



LESSON XVI. 

PERCUSSION OF THE NECK. PROMINENT AND 
OBSCURE SOUNDS. 

122- Repeat Article 118. 

123- Drill Positon. With the open palm of the 
right hand rap lightly and rapidly for five seconds the 
right back part of the neck. Then with the left hand 
the left side similarly. Then with the right hand the 
left front side of the neck. Now with the left hand 
rap the right front side of the neck. Let this exercise 
be done lightly until a few days regular practice have 
hardened the muscles a little, after which the rapping 
may be made more brisk. Keep the head erect. 

124. While a good Articulation requires every sound 
to be made distinct, it does not require all to be equally 
prominent. Words commencing or ending with the 
unaccented vowel, a, furnish a good example of this 
fact. The words, ahead and America, are equally 
sj^oiled by having all the syllables pronounced with the 
same prominence, and by having the ends clipped — Go 
a-head Amer-i-ca, is as bad as — Go 'head 'merica. In 
some dictionaries, obscure rowels are unmarked. A 
correct speaker will give these that nice subordination 
to the principal sounds which produces an easy, graceful 
yet clear effect. 



ARTICULATION. 53 

125- The same principle applies to phrases. Articles 
should be subordinated to their nouns. A man, should 
be spoken almost as if it were one word. Phrases, con- 
sidered grammatically, are elements, and in proper 
speech they are spoken as such. To avoid on one side the 
error of carelessness^ which slights the subordinate 
sounds, and on the other side the error of pedantry or 
affectation which over-does the Articulation, will require 
you to criticise yourself persistently until you have 
formed a correct habit, unless you have had the rare 
good fortune not to fall into a bad habit. 

126. Apply the suggestions on Articulation to the 
following exercises for practice: — 

a. Consider the lilies of the field, how they grow, they 

toil not, neither do they spin; and yet, I say unto 
you that even Solomon in all his glory was not 
arrayed like one of these. 

— Matthew. 

b. Thou comest, Autumn, heralded by rain. 
With banners by great gales incessant fanned. 
Brighter than brightest silks of Samarcand, 
And stately oxen harnessed to thy wain. 

— Longfellow. 

<•. Some shun sunshine. 

</. Philip Phifer filled a pit full of pilfered pippins. 

e. When loud surges lash the sounding shore, the 
hoarse, rough verse should like the torrent roar. 

./*. Theophilus Thistle, the successful thistle-sifter, 
thrust three thousand thistles through the thick 
of his thumb, therefore thou, when thou siftest a 
sieve full of unsifted thistles, thrust not, three 
thousand thistles through the t hick of ihv thumb. 



54 studies in voice; physical exercises. 

127. Repeat a part of Article 121. 

Suggestive questions. What elements of voice will 
express the kindly comfort of Art. 126, a? What dif- 
ference in the voice to express "great gales" and 
"brightest silks? " Do "loud surges" move fast or 
slow? What Stress represents their lashing the shore? 
Which is harder for you to pronounce, repetitions of 
the same sound or combinations of different sounds? 
Which exercise in the lesson do you find the most dim- 
cult? 



PAUSES. 55 



LESSON XVII. 
EXERCISE FOR THE LOWER LIMBS. PAUSES. 

128. Repeat Article 123. 

129. Drill Position. Slowly and steadily raise the 
heels from the floor, bringing the body as high as 
possible on tiptoe. Slowly descend to position. Strive 
to do this without any jerking or staggering. The same 
four times. 

In a similar manner lift the toes, supporting the body 
on the heels. The same four times. 

130. A Pause is a temporary cessation of 
the utterance. Do not confuse Pauses with punctu- 
ation marks; these sometimes indicate where Pauses 
should be made, though not always. The correct use 
of Pauses can only be learned by personal study of the 
thought, but a few hints may aid the learner. 

131. A common fault in reading and speaking is the 
irregular halting with every few words, then jerking 
along through the next group without regard to the 
thought. In reading, this may arise from unfamiliarity 
with some of the words; in speaking, from embarrass- 
ment or a lack of words at easy command. When this 
habit is formed it produces the Impression of weak 
thought or nervousness on the part of the speaker. 



56 studies in voice; physical exercises. 

Notice the effect if this sentence from Chalmers is read 

in that manner: — 

The first — great obstacle— to the extinction— of war — is the 
way — in which — the heart — of man — is carried off — from its 
barbarities — and its horrors— by the splendor— of its deceitful 
— accompaniments. 

Now read it as indicated below, using only one breath 

after the word, war. 

132. The first great obstacle to the extinction of war — is 
the way in which the heart of man is carried off from its bar- 
barities and its horrors by the splendor of its deceitful accom- 
paniments. 

133. As already hinted, the failure to manage the 
breath properly is a frequent cause of incorrect pausing. 
A Pure Tone uses the breath very slowly, so that if 
properly managed, it ought never to be necessary to 
pause for breath. 

134. In order to avoid unnecessary pauses, practice 
the following exercises in their proper Movement (Art. 
60), without pausing except where the dashes indi- 
cate. 

135. So live — that when thy summons comes — to join 
The innumerable caravan that moves 

To the pale realms of shade — where each shall take 
His chamber in the silent halls of death — 
Thou go, not like the quarry-slave at night- 
Scourged to his dungeon — but sustained and soothed 
By an unfaltering trust — approach thy grave 
Like one who wraps the drapery of his couch 
About him — and lies down to pleasant dreams. 

— Bryant. 



PAUSES. 57 

136. How bright are the honors which await those who with 

sacred fortitude and patriotic patience have endured 
all things that they might save their native land from 
division and from the power of corruption! — the 
honored dead ! — They that die for a good cause are 
redeemed from death — Their names are gathered and 
garnered — Their memory is precious. 

— Beecher. 

137. Repeat Article 126. 

Suggestive questions : What sound of u in " innumer- 
able," "endured"? What sound did you give the e in 
" silent " when you read it? What inflection on "So 
live," " of death," " About him," " all things "? What 
Movement is needed in Art. 135? Wnat sentiment pre- 
vails throughout it? Which should have more Force, 
Art. 135 or Art. 136? What preceding word does 
"approach" most nearly relate to? By what element 
of voice do you make it relate back properly? 



58 studies ix voice; physical exercises. 

XVIII. 

DEADSTILL EXERCISES. PAUSES. 

138. Repeat Article 129. 

139- Sitting Posture. Trunk and head erect. Keep 
yourself absolutely still: do not move a voluntary 
muscle; do not even wink. Sit deadstill as long 
as you can without discomfort; try it at first for twenty 
seconds, then try it for thirty seconds, and so gradually 
increase the time. If the eyes water, rest them. After 
trying it with the eyes open, try it with the eyes shut. 
Then stand and take the same exercise with the Drill 
position and with Speaker's Position. This exercise 
may be occasionally practiced with profit by pupils in 
their seats. It helps one to get himself under control 
when the "fly-away feeling" possesses him. 

140. It should be observed here that frequent wink- 
ing, drumming with the fingers, swinging the feet, 
fumbling the watch chain or pencil, and other similar 
habits are the expression of uncontrolled nerves, and are 
not only disagreeable but injurious, having a tendency 
to exhaust the nerve power. Strenuously avoid all such 
movements. 

141. The pauses which are most important for us to 
notice here are: 

TJie Grammatical Pause. 
Tlx e Rh etor tea I Pa us e . 
The Emotional Pause. 



PAUSES. 50 

142. The Grammatical Pause frequently corresponds 
with the punctuation marks, but not always. The fol- 
lowing sentence from William Pitt may be well read 
without pausing at the commas after has and decency, 
but to pass the comma after man without a pause would 
obscure the grammatical relation of the relative pro- 
noun, which, and hence would be very bad reading. 

The atrocious crime of being a young man, which 
the honorable gentleman has, with such spirit 
and decency, charged upon me, 1 shall neither 
attempt to palliate nor deny: but content myself 
with hoping, that I may be one of those whose 
follies cease with their vouth. 

— Pitt. 

The Grammatical Pause is used to express 
grammatical relation. 

143. The Rhetorical Pause is used to make 
the thought more effective. 

In the following stanza from N. P. Willis, the thought 

may be expressed more strongly by a pause after heart 

in the first line, after words, and after itself. 

Oh! when the heart is full — when bitter thoughts 

Come crowding thickly up for utterance. 

And the poor, common words of courtesy 

Are such a very mockery — how much 

The bursting heart may pour itself in prayer. 

—N. P. Willis. 

(See Art. 1G3, after " Sheridan.") 

Different shades of meaning may be made by varying 
rhetorical pauses, hence we have here a broad field for 
the exercise of good judgment in reading. 



60 STUDIES ix voice; physical exercises. 

144. The Emotional Pause is used when one 
is overcome by emotion and the voice is choked by 
passion. 

The following from Antony's speech at Caesar's 

funeral may well illustrate the Emotional Pause : 

You all did love him once, not without cause: 

What cause withholds you, then, to mourn for him ? 

O judgment! thou art fled to brutish beasts, 

And men have lost their reason! Bear with me. 

My heart is in the coffin there with Caesar. 

And I must pause till it come back to me 

* ******* 

But yesterday the word of Caesar might 

Have stood against the world: now lies he there. 

— Shakespeare. 
(See Art. 258, c.) 

145. Practice on the examples given, also apply 
Rhetorical Pause in the following. Study the effect of 
changing the pausing until you get the most perfect ex- 
pression of the thought. 

Three fishers went sailing out into the west, — 

Out into the west as the sun went down; 

Each thought on the woman who loved him the best. 

And the children stood watching them out of the town: 

For men must work, and women must weep. 

And there's little to earn and many to keep. 

Though the harbor bar be moaning. 

— Chas. Kingsley. 

146. Repeat Articles 135 and 130. 

Suggestive questions. What is the meaning of k * Oh!*' 
in 143, thought or sentiment? What Form, Inflection 
and Pitch make it most expressive? What meaning 
would be expressed by putting Falling Circumflex (Art. 
70, d.) on "honorable" in Art. 142, a. ? What would 



PAUSES. 61 

be the effect of a Rhetorical Pause after " crime"? How 
can you speak the word "cease" to make it sarcastic? 
Would it be an advantage to pause and listen after 
" harbor bar," in Art. 145 ? What is the meaning if you 
make no pause after "each"? Should you make a 
pause there? 



62 STUDIES IN voice: physical exercises. 



LESSON XIX. 
ARM EXERCISE. CLIMAX. 

147. Repeat Article 139. 

148. Speaker's position. Point with your right hand 
to the corner of the ceiling in front of you or a little to 
the left. Now very slowly and steadily move the hand 
toward the right, following accurately the margin of the 
ceiling. Let the hand pass over the line of the ceiling 
very slowly — about as fast as a fly would run along. 
Then in a similar manner return the hand along the 
same line to the point of starting. Then perform the 
same exercise with the left hand. Afterward some 
other line lower down may be taken. Point to a train 
of cars, real or imaginary, at full speed half a mile 
away. 

149. Olimax is the regular increase of power 
in a series of expressions. 

Anti-climax is the reverse of climax, the power being 
gradually decreased. As climax, well used, is one of 
the finest aids to speech, so anti-climax is a common 
means of spoiling it. If the speaker has his beginning 
well thought out, and starts in vigorously, but flags as 
he proceeds, the effect is generally worse than if he had 
not done the first so well. This applies either to 
what we call public speech or to a recitation in class. 



climax. <'.:? 

a short speech or a long one. If one increases in power 
as lie advances, it gives the impression of strength yet 
in reserve, while nagging energies betray weakness. 
Climax may be used in a series of words, in successive 
sentences, or in a succession of paragraphs. In a long- 
climax, however, it must not be a continuous ascent; 
but a series of nights, each one rising a little higher 
than the preceding. 

150. Practice the following example. Manage your 
voice so that you do not reach your limit before you get 
to the end. 

a. At midnight in his guarded tent, 

The Turk lay dreaming- of the hour 
When Greece, her knee in suppliance bent, 
Should tremble at his power. 

In dreams, through camp and court, he bore 
The trophies of a conqueror; 

In dreams his song of triumph heard; 
Then wore his monarch's signet ring: 
Then pressed that monarch's throne — a king; 
As wild his thoughts, and gay of wing, 

As Eden's garden bird. 

b. At midnight, in the forest shades, 

Bozzaris ranged his Suliote band, 
True as the steel of their tried blades, 
Heroes in heart and hand. 

There had the Persian's thousands stood. 
There had the glad earth drunk their blood 

On old Plateas day: 
And now there breathed that haunted air 
The sons of sires who conquered there, 
With arm to strike and soul to dare, 

As quick, as far as they. 



64 STUDIES in voice; physical exercises. 

c. An hour passed on — the Turk awoke; 
That bright dream was his last; 
He woke to hear his sentries shriek, 
" To arms! — they come! the Greek! the Greek/ " 
He woke — to die midst flame, and smoke. 
And shout, and groan, and saber stroke, 
And death-shots falling thick and fast 
As lightnings from the mountain cloud ; 
And heard with voice as trumpet loud, 
Bozzaris cheer his band: 
"Strike till the last armed foe expires; 
Strike — for your altars and jour fires; 
STRIKE — for the green graves of your sires 
God — and your native land." 

— Fitz- Green Halleck. 

Suggestive questions. What words in Art. 150 should 
have Explosive Form? What part needs Median Stress'/ 
Is the same party referred to in the first and second 
stanza? What sentiment prevails in each stanza: 
Is "Eden's bird" (150, a.) supposed to be 
different from other birds? What line shows climax in 
phrases (150, c. )? Whose words in the last four lines? 
What Stress on "Strike"? What difference in Pitch 
on < < shout " and " groan " ? Why ? 



EMPHASIS. 65 



LESSON XX. 
CIRCULAR ARM MOVEMENT. EMPHASIS. 

151. Repeat Article 148. 

152. Drill Position. Without bending the arm, 
swing it from the shoulder forward, up, back, and down 
describing a circle. Let the movement be slow and 
steady. Perform it first with the right arm, then with 
the left, then with both together. Keep the trunk still, 
and make the circles as nearly parallel as possible. 

153. Emphasis is any peculiar impressive- 
ness of expression. 

Tt is a mistake to suppose that Emphasis is only 
secured by loudness. Anything which calls special 
attention to a word, emphasizes it. This may be done 
by:- 

a. Speaking it with greater force. 

J>. Speaking it with subdued force. 

c. Giving it more effusive form. 

<7. Giving it a peculiar stress. 

e. Pausing before it, or after it, or both. 

f. Changing the quality. 

g. Gesture or facial expression, or any other device 
which makes it specially prominent. 

154. Ordinarily, in every sentence some words are 
more important than others. In speech these words are 
shown by the way in which they are spoken — they are 



66 STUDIES in voice; physical exercises. 

emphasized. In speaking thought previously prepared, 
or the thoughts of another, as in reading, one is liable 
to give a wrong emphasis because the thought is not 
fully realized and made one's own. Every different 
shade of meaning changes the emphasis, so if the mean- 
ing is not fully and accurately grasped, the emphasis 
will be wrong. Saying over words without any empha- 
sis is not much worse than throwing in the emphasis 
arbitrarily — without reference to the meaning. Every 
phrase has its emphatic word, every long sentence its 
emphatic phrase or clause, and nearly every paragraph 
its emphatic sentence. The reader should always run 
his eye ahead of his tongue to see what is coming. 

See how many differences of meaning you can give to 
the following by changing the emphasis. 

Keep thy tongue from evil, and thy lips from speaking guile. 

—34th Psalm. 

156. Practice the following, and study to give all 
parts proper emphasis. 

What conscience dictates to be done. 

Or warns me not to do, 
This teach me more than hell to shun. 

That more than heaven pursue. 

— Popes Universal Prayer. 

157. I come. I come! ye have called me long: 

I come o'er the mountains with light and song, 
Ye may trace my steps o'er the waking earth 

By the winds which tell of the violet's birth. 
By the primrose stars in the shadowy grass. 

By the green leaves opening as I pass. 

— Felicia Hitman*. 



EXERCISES I.N EMPHASIS. (57 

158. There is a tide in the affairs of men, 

Which, taken at the flood, leads on to fortune; 
Omitted, all the voyage of their life 
Is bound in shallows and in miseries. 

— Shakespeare. 

159. Repeat Article 150. 

Sag yestive questions. What method of Emphasis is 
used mostly as you speak Art. 156? on " conscience? " 
on "not?" on "this?" on "heaven?" In Art. 157, 
which is more emphatic, "primrose" or " stars?" 
"leaves" or "opening? " What Pitch and Inflection 
on "come " to give proper emphasis? Do you notice a 
tendency to throw too much emphasis on the last word 
of a line or sentence? (For example, the second line in 
the quotation from Pope). Did you emphasize "is" 
and " the " in the first line of Art. 158? 



68 STUDIES in voice; physical exercises. 



LESSON XXI. 
BODY EXERCISE. POETIC READING. 

160. Repeat Article 152. 

161. Drill Position. Hands on the chest. Rise on 
tiptoe and reach straight up as far as possible with both 
hands. Return them to position on the chest while the 
heels return gradually to the floor. Bend forward and 
down at the waist and reach as near the floor as possi- 
ble without bending the knees. Return to position with 
hands on the chest. Repeat the same slowly four times. 

162. In reading poetry, Emphasis, Inflection and 
Pauses are often improperly combined to produce what 
is commonly called sing-song. The sense should never 
be sacrificed for poetic effect. With this caution, the 
reader should " bring out " the rhythm, the meter, and 
all the poetic art to its best advantage. Poetry that is 
well written will sound poetic if the thought is expressed 
to the best advantage. The reader should pause at the 
end of every line of poetry, but if there is no punctu- 
ation at the end of a line make the pause brief, and do 
not let the voice fall. By keeping the Inflection right 
you may make as long a pause as you wish and the 
chain of thought will not be broken. The poetic effect 
is chiefly aided by the proper management of the time — 
Movement and Form — while Inflection and Emphasis 
must be determined alone by the sense. 



POETIC READING. 89 

163. Avoid sing-song in your practice of the follow- 
ing. Apply the suggestions in Art. 162. 

*Upfrom the south at break of day, 
Bringing to "Winchester fresh dismay, 
The affrighted air with a shudder borr 
Like a herald in haste, to the chieftain's door, 
The terrible rumble and grumble and roar, 
Telling the battle was on once more, 
And Sheridan — twenty miles away. 

— T. B. Read 

164. Repeat Articles 156-158. 

Suggestive questions: What Inflection on "day"? 
(Art. 163) What brought "to Winchester fresh dis- 
may "? What Inflection on " bore "? The air « bore " 
what? Whither? What sound is imitated in the fifth 
line? What Pitch, Force and Movement to best repre- 
sent it? What is the effect of Rising Inflection on 
"Sheridan," and a long pause after it? Where was this 
battle? What is the story that explains this stanza? 
(If you do not know, consult an encyclopedia, or ask 
older people. In order to read well, the thought must 
be understood.) 

♦Copyrighted by J. B. Lippincott Co. 



70 



STUDIES IN VOICE! PHYSICAL EXERCISES. 



LESSON XXII. 
FOOT MOVEMENT. SOUND AND SENSE. 

165. Repeat Article 161. 

166. Drill Position. Keeping the toes turned out 
at the same angle, advance the right foot one step to 

the front and 
then return to 
position, then 
one step to the 
right lateral, 
and back to 
position. Pro- 
ceed in the 
same way to 
the four points 
front, right 
lateral, back- 
ward, left lat- 
eral (See Art. 
180. ) Make 

each step prompt and graceful, and throw the weight of 
the body on the active foot at each step. Pursue the 
same circuit in reverse order with the left foot. 

167. Many words by their sound convey somewhat 




Fig n. 



SOUND AM) SENSB. 71 

of their meaning, as, ring, slush, broad, tiny, roar. 
The speaker by his voice should aid this effort of lan- 
guage to interpret itself. So far as possible, the thought 
should be given to the hearer without any effort on his 
part. 

168. Two classes of words may be noticed under 
this subject: Onomatopoetic, or those which imitate the 
sounds described; and Characteristic words, or those 
which give an idea of size or quality. 

Pronounce the following so as to bring out their 
meaning as fully as possible: 

Onomatopoetic — Ring, jingle, toll, crash, thump, rattle, 
rustle, whistle, roar, thunder. 

Characteristic — Little, large, noble, mean, far, happy, merri- 
est, round, grand, old, sneak, vagabond, 
nobleman, king, villainy, treachery, honor, 
magnanimity. 

169. Imitate the sound of the wind as it swells and 

dies away, sighs and moans successively in the following: 

The loud wind dwindled to a whisper low, 
And sighed for pity as it answered — No. 

1 70. Bring out the effect of the smooth sailing and 
slight swaying of the boat in the following: 

*Round purple peaks it sails, and seeks 
Blue inlets and their crystal creeks, 
Where high rocks throw, through deeps below. 
A duplicated golden alow. 

— •• Drifting," by '/'. B. Bead. 

♦Copyrighted by .). K. Lippincott Co. 



*72 STUDIES IN voice: physical exercises. 

171. Express the sublimity in this passage from 

"God's First Temples:" 

OGod, when Thou 
Dost scare the world with tempests, set on fire 
The heavens with falling thunderbolts, or fill, 
With all the waters of the firmament, 
The swift dark whirlwind, that uproots the woods 
And drowns the villages, spare me and mine. 

— W. G. Bryant. 

1 72. Hear the sledges with the bells, — silver bells; 
What a world of merriment their melody foretells! 

How they tinkle, tinkle, tinkle, 
In the icy air of night! 

— Edgar A. Poe. 

Suggestive questions: When you say, "lam glad 
to see you," do you say it as if you meant it? Can you 
say " No " as the wind does? (Art. 169. ) What Inflec- 
tion on " sighed"? Should we emphasize "and" in 
the second line of Art. 1*70? What Stress on Art. 171? 
Should the Inflection be on short and frequent or long 
and continuous slides? What Movement to imitate the 
sleigh bells in Art. 172? 



SENTIMENT. 73 



LESSON XXIII. 
FINGER MOVEMENT. SENTIMENT. 

1 73. Drill Position. Hands down at the side. With- 
out moving the arms, clench both hands quickly and 
firmly. Now open them fully so the fingers and thumbs 
are straight. The same eight times. Now repeat with 
the arms horizontal at the side. Again with the arms 
straight up. Again repeat with the arms horizontal 
forward. 

174. We have now had an outline of the elements 
of tone, and the changes which the voice undergoes. 
We have learned to produce those changes; to classify 
and name them. We are prepared to enter more into 
a consideration of the causes and meaning of those 
changes. 

Words express ideas; tones express feelings, senti- 
ments, states of mind. You can understand anger, 
fear, joy and peace in a man's voice, though he speaks 
in a foreign tongue and you do not know a word of it. 
Even a horse understands the language of the emotions. 
This is the universal hmguage. A mob will be more 
influenced by a man's tones than by his words. Child- 
ren in the home and in the school are more controlled 
by feelings than by ideas. Hence, "A soft answer 
turneth away wrath; but grievous words stir up anger/' 



14 STUDIES ix voice; physical exercises. 

It is the tone, rather than the words, which commands, 
entreats, questions, decides, offends, attracts, comforts 
or irritates us. 

175. Speaker's Position. Practice on O, expressing 
the following sentiments. Repeat again and again, 
pursuing the list forward and backward. 

Conversational : — 

a. Business. 

b. Friendly. 

c. Intimate. 

d. Confidential. 

e. Questioning. 

f. Protesting. 
cj. Deciding. 
h. Entreating. 
L Despairing. 

176. Repeat Articles 169-172. 

Suggestive questions. Can you drive off ill feelings 
by speaking and acting pleasantly? Do we become 
like the character we assume? How do children tease 
and pout: with words, tone, action, or with all? What 
Movement and Stress in Art. 175, a? What Quality 
and Force in Art. 175. d? 



PART SECOND. 

Studies in Action; Vocal Exercises. 



LESSON XXIV. 
ACTION. DIRECTION OF GESTURE. 

177. Repeat Article 173. 

178. Speaker's Position. Practice the syllable, ah, 
expressing the following emotions. Repeat as in Art. 175. 

Passionate: — 
a. Command. 
f>. Question, 
c. Challenge. 
(7. Anger. 

e. Apology. 

f. Chagrin. 

g. Pity. 
h. Joy. 

L Surprise. 
j. Fear. 

1 79. Action is the complement of voice in 
expressing our thoughts. As a rule no action 
should be used where the voice is sufficient. Too much 

75 



76 STUDIES ix action; VOCAL exercises. 

action is distasteful, whether it he the grimaces of af- 
fected conversation or the spread-eagle delivery of the 
stump speaker. With this caution at the beginning, we 
may proceed to the study of where and how to use ac- 
tion as an aid to expression. The subject naturally 
divides itself into that of the hands, the arms, the feet, 
the trunk, the head, and the countenance. 

180. The Hand in gesture may take any 
direction, but we must have a few terms by which to 
designate the different points. 

If you stand erect and imagine yourself somewhat 
as the axis of a large geographical globe of which your 
fingers, when swung at arm's length in every direction, 
describe the surface, yon can easily imagine that sur- 
face as marked by the circles of latitude and longtitude. 
Sweeping the arm around horizontally you describe the 
equator. Raising the arm 45 degrees, yonr hand may 
describe another circle parallel with the equator, and 
45 degrees below the horizontal yon may describe 
another parallel. From these circles we can locate all 
gestures in Latitude, as Horizontal, Upper and Lower. 
Xow sweeping the hand from pole to pole on the surface 
of our imaginary globe you may describe eight meri- 
dians 45 degrees apart, which will be sufficient to locate 
gestures in Longtitude. Thus we derive the following 
table of directions: — 



DIRECTION OF GESTURE. 77 
GESTURES. 

In Longtitude. In Latitude. 

F._ Front. Up. 

Ob.-Oblique j Lef t h _L Rt ' Upper-U. 

( Right 

Lat. — Lateral ■< Horizontal-Hor. 



1 



Left. 



! Right. 
Lower-Low. 
Left. 

B. -Backward. Down-D. 

Number and quantity increase from the Front to the 
Lateral; "All the world" is included by a Lateral 
gesture. If gestures were used on the sentence, " Mil- 
lions for defense, but not a dollar for tribute," a gesture 
with both hands near the Lateral might be used on 
" Millions," while one hand in Front would indicate "a 
dollar." Front gestures are most definite. Oblique 
Backward and Backward are used to represent the 
past in time or place, also the disagreeable, as shown 
when we turn our back on that which is despised. 

Upper direction is given to objects, real or imaginary, 
located above, also to elevated and noble emotions and 
ideas. 

Lower direction is given to objects located below, and 
to that which is humble, base or despised in thought. 

Horizontal gestures are given to the ordinary in 
thought or place. 



7s STUDIES in action; VOCAL exercises. 

181. Point to the twenty-six directions indicated in 
Art. 180, — Down, Lower Front, Rt. Hor. Lateral, Rt. 
Oblique Upper, Left Ob. Backward Horizontal, etc. 

182. Repeat Article 175. 

Suggestive questions. What words would indicate 
the direction of a gesture to the moon? In a gesture 
to the horizon would the raising or lowering of it one 
inch spoil it — in other words, must the gesture be pre- 
cise? Where shall we locate the horizon, level with the 
shoulder, or level with the eye? In speaking of the 
Deity if we use a gesture shall it be over the head, over 
the shoulder, or farther out? 



THE SUPINE 11 AN J). 79 



LESSON XXV. 
LAUGHING EXERCISE. THE SUPINE HAND. 

183. Repeat Article 178. 

184. Speaker's position. Pronounce the syllable, 
ha, in ordinary manner. Raise the Pitch and make the 
Form Explosive. Now twice in succession. Three 
times. Now give it Force enough to make it a genuine 
hearty laugh. If some one laughs with the syllable, 
Te-he-he! all take that syllable and make the laugh as 
natural as the genuine. If you hear, Oh-ho-ho-ho! or 
Hi-hi-hi-hi! or Hu-hu-hu-hu! practice it. Try to enter 
into the spirit of it. See if you can discover what 
varying sentiment enters into different laughs. Which 
suits you individually best? Do you use different kinds 
at different times? This "laughing practice" is one 
of the most valuable vocal exercises; it is healthful; 
and, as the laugh indicates the character, it is worth 
while to cultivate & proper habit of laughing. 

185- The positions of the hand are, Supine, Averse, 
Index, Clenched, Prone, and Reflex. 

186. The Supine Hand (See Figures 12, 19, 20, 
21,) is most used. It is friendly, considerate and un- 
impassioned. It appeals to the judgment of the hearer. 
When the Supine Hand is used in direct address the 
hand should always be drooped from the wrist enough 
so the person addressed can see the palm. Extend the 



80 



STUDIES IN ACTION; VOCAL EXERCISES. 



hand supine toward a company. Hold it a little too 
high so they cannot see the palm and they are omitted. 
Hold it so those in the center can see the palm, but those 




"Be a hero in the strife." 
Fig. 12. 
at the side cannot, and these last are excluded. 



The 



first finger should be straight; the others slightly and 
loosely curved. Practice until you get it just right. 
Anyone can tell when it looks right. To criticise your- 



iiii: SUPINE hand. SI 

self, practice before a mirror. In all study of Action 
your glass may be made your greatest helper. 

187- Practice the following with supine hand as in- 
dicated: 

a. 'i am very glad to see you. (Jood even, sir." 

R1 Hand Front. Hor. 

b. "Be a hero in the strife." 

lit. Up Obi. 

c. Is there for honest poverty, 

Left, Hor. Fr. 

Wha hangs his head, and a' that? 

— Bums. 

d. Come unto me, all ye that labor and 

Both Hands,*Hor. ObL 

are heavy laden, and I will give you rest. 

—Bible. 
Do not make the gestures rapid; let the hand move 

slow, gracefully, reaching its fullness or culmination, 

just at the point of emphasis. Hold it in position while 

the thought requires it, then withdraw it gracefully; do 

not drop it. 

Both hands have the same general meaning as one 
hand, but are more emphatic 

188. Repeat Article 181. 

Suggestive questions: Can you stop laughing at will? 
I low can one acquire that power if he does not have it? 
How do you acquire any power? Can you express the 
thought as fully in Art. 187, 6, without a gesture as 
with it? Will one hand do as well in Art. 187, (/? 
What Stress in 6? What sentiment in c? Quality? 

Note. — It should be understood that there are different ways 
of rendering the same thought. No two persons would use pre- 
cisely the same gestures on any extended speech, and yet both 
may be equally good. The gestures that are assigned to partic- 
ular passages in this book are not to be considered the only ones 
that could be used. 



82 studies ix action; vocal exercises. 



LESSON XXVI. 
SALUTATION EXERCISE. THE AVERSE HAND. 

189. Repeat Article 184. 

190. Take the Speaker's Position and practice on 
the words, Good morning. 

a. Say, " Good morning " as you do to the teacher. 

b. As you do to your chum. 

c. As you do to a stranger. 

d. A friendly " Good morning." 

e. A business " Good morning." 

f. A hostile " Good morning." 

g. A haughty " Good morning." 

h. A condescending " Good morning. " 
i. A nattering " Good morning." 
j. An honest, cordial " Good morning." 
Notice how a slight change of the voice and manner 
gives an entirely different character to these words. 
Carry this study in your mind through the day; observe 
the varying sentiments that are expressed in the greet- 
ings on the streets and by different people. Character- 
ize them in your review of this exercise to-morrow. Try 
to make your own "good mornings" mean what they 
should — kindly, happy, cordial good wishes. 

191. The Averse Position of the hand is that 
which would push away a repulsive object — 




Fig. 13. 



Opp. 82. 



83 STUDIES IX ACTIOX; VOCAL EXERCISES. 

the back of the hand toward your own face, the wrist 
sharply bent back, and fingers straight. As it is the 
position which would push away a repulsive object, so, 
it represents ideas that are repulsive, 

192. Every gesture that is applied to ma- 
terial things has its correlated gesture applied 
to mental objects. As we speak of a lofty moun- 
tain and a lofty thought, both might receive the same 
gesture. A miry pit and a loathsome character might 
both receive the same gesture of aversion. A point on 
the book and a point of an idea might both be brought 
to one's attention by the aid of similar gestures. 

193. Practice the following with Averse gesture as 
indicated: — 

a. False wizard, avaunt. 

Rt. Hor. Obl. 

b. Back, ruffians, back ! nor dare to tread 

Both Hands, Front, Horizontal. 

Too near the body of my dead. 

— The Polish Boy — Ann S. Stevens. 
o. (), I haw passed a miserable night. 

Left Obl. Lower. 

So full of ugly sights, of ghastly dreams. 

Both Obl. Lower. Both Lateral Lower. 

— Shakespeare. 

194- Avoid all quick, nervous action. Do not 
thrust the hand out, but let it be limp till it comes to 
position. The front edge of the hand should lead in 
all graceful gesture. If the back of the hand leads, it 
will seem more as if you are going to slap something. 

195- Repeat Article 187. 



THK AVERSE HAND. 84 

Suggestive questions. Which should be most used in 
speech, Supine or Averse hand? What Quality is most 
needed with Averse hand? Which of your hands 
makes gestures with the greater ease? Why should 
the gesture be horizontal in Art. 193, bf Would the 
Supine or Averse better express hope? Contempt? 
Courage? Fear? Entreaty? What is the meaning of 
a gesture made too quick? Can you give Art. 193, a, 
with strength, authority, and firmness? 




Fig. 14. 



Opp. 85. 



THE INDEX HAND. 85 



LESSON XXVII. 
EXERCISE IN " NO." THE INDEX HAND. 

196. Repeat Article 190. 

197. Practice on the word, No: 

a. Give conversational " No." 

b. Business " No ", (Make your questions short.) 

c. Questioning " No ", (Is that so?) 

d. Doubtful " No", ( Perhaps < < Yes ». ) 

e. Positive " No ", (No doubt of it.) 

/. Resentful "No", (You should not ask.) 

g. Impatient " No ", (Don't bother me.) 

h. Inquisitive " No ", (Do tell me about it. ) 

i. Emphatic "No", (A thousand times, No!) 

You have heard of people who cannot say "No". 

Which of the above do they use? Can you say " No" 

firmly, positively, and yet pleasantly? 

198. The primary meaning of the Index 
Finger in gesture is definiteness. In position and 
direction (objectively) it locates definitely. In ideas 
(subjectively) it denotes the same precision, or definite- 
ness of thought. By it the debater calls attention to 
the exact point at issue, the teacher explains particularly. 
In a downward gesture it asserts. Held erect in a front 
horizontal, it warns. Pointed at an object with the 
back up it expresses contempt, hence arises the phrase, 
" the finder of scorn ". It would be hard to use words 



86 STUDIES IN ACTION; VOCAL EXELICISES 

that would stir you to the same degree as to have one 
point the finger of scorn at you. Pointed at an object 
with the edge of the hand up it only designates, with- 
out expressing any ill feeling. In all these cases it 
means definiteness. 

199. Practice the following with Index Finger: 

a. Location. 

The decent church that tops the neighboring hill. 

Obl. Upper. 



b. Scorn. 

] 

c. Argument. 



Let that plebian talk; 'tis not mv trade. 

Rt. Hor. Lat. 



Consider this, 

Rt. Fr. Hor. Fore Arm. 

That, in the course of justice, none of us 
Should see salvation. — Shakespeare. 

d. Affirmation. 

But this I will avow, that I have scorned, 

Rt. Fr. Down. 

And still do scorn to hide my sense of wrong. 

— Crohj. 

e. Warning. 

Lochiel, Lochiel, beware of the day, 

Fr. Hor. 

When the lowlands shall meet thee in battle array. 

— Campbell. 
200. Repeat Article 193. 

Suggestive questions: Which exercise in Art. 199 re- 
quires Effusive Form? What Inflection is wanted in 
Art. 199, b? Should c be spoken in an arguing tone 
or authoritatively? Should d be given with dignity or 
petulance? Why does a speaker point out on his 
finger tips the several divisions of his topic? Do you 
make all your gestures gracefully? What constitutes 
grace of movement? 




Fis. 15. 



Op p. 86. 



8*7 STUDIES IX ACTION ; VOCAL EXERCISES. 



LESSON XXVIII. 

PROJECTING THE VOICE. THE CLENCHED 

HAND. 

201. Repeat Article 197. 

202. Practice on the words, " Over the boat." 
(Bring the boat over the river). Imagine yourself by 
the side of a stream and desiring to get across. On 
the other side is a man with a boat. At first let the 
stream be narrow — the width of the school room. 
Then gradually increase the distance till you shout 
across a river half-a-mile wide. Let the purpose be to 
throw the voice directly to the point aimed at, as defi- 
nitely as you would fire a bullet. Loudness is not 
desirable so much as reaching power — the penetrative 
voice. It is this power which enables one to make him- 
self heard in a large room or by a large audience out of 
doors. Use Pure Tone. Open the mouth round. Throw 
the tone forward. You may add to the value as well as 
interest in the exercise, by varying the expression from 
request to entreaty, command, etc. 

203. The Clenched Hand expresses, prim- 
arily, force. It is not admitted in calm conversation. 
Passion and especially strong will make use of it. The 



TIIK CLENCHED HAND. 



88 



conviction 



orator enforces his strongest 
clenched hand. This position 
of the hand is limited to two direc- 
tions — the horizontal front which 
is antagonistic, and the vertical 
downward which expresses con- 
viction and will. 

204. Practice on the follow- 
ing. Let the gestures be slow 
and firm. A quick movement in 
gesture is weak. Great bodies 
move slowly. Let the hand come 
to the front before beginning the 
gesture. The front is the starting 
point for all graceful gesture. 
Never move the hand out in a 
straight line from the side. The 
skillfid hand almost always moves 
in curves. The clenched hand is 
an exception to this, but it should 
not be clenched until the " stroke" 
of the gesture. 

a. Antagonistic: — 

I tell thee thou'rt defied! 
And if thou said'st I am not peer 
To any lord in Scotland here, 
Lowland or highland, far or near, 




Lord Angus, thou hast lied. 

Kt. Front. Hor. 01. 



— M<i rim 



Scott. 



89 STUDIES INT ACTIOX; VOCAL EXERCISES. 

b. Conviction: — 

We must fight! [ repeat it. Sir: We must fight! 

Rt. Fr. Down, CI. 

c. Conviction and Will: — 

I know not what course others may take, but. as for 
me, give me liberty or give me cleat h ! 

Both Fr. Down CI. 

— Patrick Henry. 

It is not to be understood that the gestures indicated 
in the examples given are the only ones that should be 
used. In the examples in this lesson from Scott's Mar- 
mion and Patrick Henry's speech, the context would be 
full of action. 

205. Repeat Article 199. 

Suggestive questions. Should a man, or a woman, use 
Clenched hand the more? Should Supine hand be used 
at all in Art. 204, a? If so, on what words? What 
movement of the hand to indicate the change from far 
to near? What is the feeling in b! Would patriot 
ism or anger most become the words in b and c? What 
Quality in a, b> c? 



Ill 1C PHONE HAND. 90 



LESSON XXIX. 

AN INTERROGATION EXERCISE. THE PRONE 
HAND. 

206. Repeat Article 202. 

207. Practice on the words, " Will you close the 
door? " 

a. Ask the question as if you expected an answer. 

b. Ask it as if you expected it done and not answered. 

c. Ask it with authority. 

d. Ask it as a favor. 

e. Speak it as a command. 

f. As emphasizing a command which was disobeyed. 

g. Command it in a threatening tone. 

h. Speak it as a helpless person entreating for mercy. 
i. As a challenge, threatening the person if he does 

close it. 
j. Speak it fawningly. 
Which of these do you think best for home use? 

208. The primary meaning of the Prone 
Hand is repression or covering. It is the re- 
verse of the Supine hand, the palm is turned down. It 
has a great variety of uses, but all related to this pri- 
mary meaning. The idea of the snow spread upon the 
earth contains also the idea of a covering. The idea of 
peace, quiet or stillness contains at the same time the 




Pig. 17. 



Opp. 91. 



THE PRONE HAND. '.I I 

suppression of noise or movement and may be expressed 

by the Prone Hand. There is a gradual shading of this 
position into that of Averse Hand, as we would repress 
an action or thought which is disagreeable. As our 
emotions shade into one another, so our action combines 
different expressions. Surprise frequently combines 
somewhat of the disagreeable with an impulse to 
suppress it, so the hand expresses it by a position be- 
tween Averse and Prone. Surprise, it is true, is often 
pleasing, but the pleasure follows the first impulse. 

209. Practice the following a.-; indicated: 

a. Covering. 

Under the sod and the dew, 

Both Hands Prone Obi. Lower. 

Waiting the judgment day; 
Under the one the Blue; 
Under the other the Gray: 

— F. M. Finch, 

b. Rejyression. 

And soldiers whisper: " Boys, be still; 

Left. Fr. Hor. Prone. 

There's some bad news from Grainger's folks." 

— Ethel Lynn. 

210. Combine the different gestures indicated in the 
following: 

On Linden when the sun was low, 

Rt. Hor. Fr. Supine. 

All bloodless lay the untrodden snow; 

Both Hor. Prone Fr. to Obi. 

And dark as winter was the flow 

Rt. Lower Pr. Av. 

Of Iser, rolling rapidly. 

Tracing the course of the river. 

— Hohenlinden — Campbell. 



92 STUDIES IV ACTfoN; VOCAL KX ERCISEs. 

211. Let the gestures be slow and glide from one to 
the other gracefully. Avoid stiffness. The first line 
receives a gesture of direction, the second contains the 
idea of the ground being covered all over with new- 
fallen snow. Both of these are pleasing. The dark 
river has a forbidding aspect expressed by the partly 
Averse hand and yet partly Prone, as if repressing the 
dreadful scene that is to follow in the next stanza. 
Curiosity is thus awakened by the suggestion. The 
gesture in the fourth line is descriptive, beginning with 
Prone and changing gradually, as the hand moves from 
left to right, into Supine. Locate the river as flowing 
across the scene so as to make the picture complete. 
Arrange it definitely in your mind as an artist who 
must paint it, then make your spectators see it. You 
must see it yourself or they will not. 

212. Repeat Article 204. 

Suggestive questions: In Art. 207 could any of those 
ideas be better expressed by the aid of a gesture? 
What sentiment prevails in Art. 209, a? Should the 
gesture be more gentle than in ordinary business ? Can 
you bring the hands to that position without turning 
any angles? Do you avoid the appearance of stiffness 
in the hand? In Art. 209, b, do you change the tone at 
once when you leave the words of the narrator to give 
the words of the soldiers? 



I III'. REFLEX HAND. 



93 



THE REFLEX 



LESSON XXX. 

AN EXERCISE ON "HURRAH !" 
HAND. 

213- Repeat Article 207. 

214. Practice on the word, " Hurrah! n 

a. Speak it in the or- 

dinary manner. 

b. As an expression of 

pleasant surprise. 

c. Expressing joy at 

good news, as the 
announcement of 
a holiday. 

d. As a signal for a 

frolic, for all to 
join. 

e. As a cheer for the 

victor in a game. 

f. As exulting over an- 

other's defeat. 

g. As cheering a noble 

sentiment or action 
— a rousing cheer. 

215. The Reflex Hand m 18 
has the fingers lent up, as if holding something in the 




94 STUDIES IN ACTION'; VOCAL EXERCISES. 

hollow of it. It is only imitative and not much used. 
It may express giving, receiving, or holding. 

216, Practice the following with gesture as indicated. 

a. Holding: — 

I hold in my hand a quantity of sand from the bottom 

Left. Fr. Lower Ref. 

of the sea, which viewed with a microscope becomes a 
handful of pearls and shells of rare beauty. 

b. Begging: — 

Pity the sorrows of a poor old man. 

Whose trembling limbs have borne him to your door; 
Whose days are dwindled to the shortest span, 

Oh, give relief, and heaven will bless your store. 

Fr. Hor. Ref. 

217. Supplementary to the subject of the hand in 
gesture is the question, what to do with the hands when 
before an audience and not gesturing. Young speakers 
frequently find their hands to be in the way so that 
they feel awkward. Shall we keep them down at the 
side all the time? No, except the time be short. That 
is the normal position, but, long continued, would be 
wearisome to the audience as well as to the speaker. 
A dignified, graceful position, strong but not stiff, 
should be cultivated. One hand or both behind the back 
for a change is allowable; also one hand with the thumb 
resting in the watch chain, or one hand in the bosom of 
the coat when it is buttoned, but not in the pockets or 
fumbling the chain. Go before a glass, see what posi- 
tions of the hands are becoming, then by force of will 
keep them in those positions without too frequent 



THE REFLEX HAND. 95 

changes. When the habit is formed they will cease to 

feel awkward. 

218. Repeat Article 210. 

Suggestive questions. If you used a gesture on Art. 
214, g, what direction should it take and what position 
of the hand? Can you speak Art. 216, a, as if it were 
real and your own thought, or do you give it a little as 
if you were declaiming it? What Stress and Move- 
ment in Art. 216, bf Can you stand and speak to the 
class with erect position, the hands where you want 
them, and yet feel easy, not stiff . 



96 studies in action; vocal exercises. 



LESSON XXXI. 

AN INTERROGATION EXERCISE. THE ARM. 

219. Repeat Article 214. 

220. Practice on the words, " Will you come in?" 
Aim to make this practice truly represent different situ- 
ations and different people. If we could hear the re- 
ception of canvassers and intimates, beggars and digni- 
taries, at the doors of the lofty and the lowly, we should 
notice many more varieties of sentiment than are here 
given. 

a. Say "Will you come in?" interrogatively. 

b. Inviting to come in. 

c. Inviting to stay out. 

d. Cordially. 

e. Coolly. 

f. Happily surprised. (I am delighted to see you.) 

g. Dreadfully surprised. (I was afraid you'd come.) 
h. To a little child. 

*. To a venerable man. 

221. You have doubtless noticed that some gestures 
need a fuller sweep of the arm than others. Unim- 
passioned conversation uses chiefly the Fore- 
arm; there is not much movement of the arm at the 
shoulder. Bold, passionate thought, and that 
which is highly oratorical requires free Full- 



THE ARM. 



97 



arm gestures. (See Figs. 16, 17, 20, 21.) The 
Larger the audience and the greater the theme, the fuller 
the sweep of the arm in gesture. 

Two extremes must be avoided — the cramping of 
the arm that makes it angular, and the extension of the 
arm that makes it appear stretched. 

222. Conversational practice — Fore Arm: 

Hamlet. Will you play upon 
this pipe? 

Guildenstern. My lord. I can- 
not. 

Ham. I pray you. 

Quit. Believe mo. I cannot. 

Ham. I do beseech you. 

Guil. I have no touch of it, 
my lord. 

Ham: 'Tis as easy as lying. 
Govern these ventages with your 
fingers and thumb, give it breath 
with your mouth, and it will 
discourse most eloquent music. 
— Shakespeare. 

223- Oratorical— Full Arm. 
Fig. 19. Forearm Gesture. 

My manors, bowers and halls, shall still 

Rt. V. Hor. Sup. Rt. Ob. Hor. Sup. Rt. Hor. Lat. Sup. Both Lat. 

Be open at my sovereign's will — 

Low. Sup. 

My castles are my king's alone, 

Rt. F. Hor. Sup. 

From turret to foundation stone. 

Rt. U. Ob. Ind. Rt. Lower Ob, Sup. 




—Scott. 



224. Repeat Article 216. 



Suggestive questions: Would it be advantageous to 
use a gesture on any of the exercises of Art. 220? If 



98 STUDIES ix action; vocal exercises. 

so, should it be forearm or full-arm gesture? Should 
the gestures in Art. 222 be on the more emphatic or less 
emphatic portion? Which requires the lower position 
of Supine hand, inviting or protesting? Would you 
use any imitative gesture on the last sentence of Art. 
222? Can you make the transition smoothly from one 
gesture to another in Art. 223? 



POSITIONS OF THE FEET. 99 



LESSON XXXII. 

AN EXERCISE IN COMMAND. POSITIONS OF 
THE FEET. 

225- Repeat Article 220. 

226. Practice on: — 

Forward, the Light Brigade! 
Charge fbr the guns ! 

Orotund Quality: — 

a. Subdued Force. 

b. Moderate Force. 

c. Energetic Force. 

d. Impassioned Force. 

e. Rapid Movement. 

f. Moderate Movement. 

g. Slow Movement. 

Which Force and Movement best represent the com- 
mand to an army? 

227. The feet of a speaker should ordin- 
arily occupy the First or Second Position 

(see Art. 8), but four other positions are sometimes 
used in very animated discourse and the higher flights 
of thought. 

In the Third Position the right foot is advanced 
a little more than in the First Position, the weight of the 
body is thrown on the advanced foot, and the heel of 




Third Position of the Feet 
Pie, 20. 



Bk. y». 




Fifth Position of Feet. 
Fiff. 21. 



Bk. 100. 



100 STUDIES IN ACTION; VOCAL EXERCISES. 

the left foot is slightly raised. The Fourth Position is 
similar to this with the left foot advanced. 

The Fifth Position differs from the First only in 
having the right foot farther advanced, and with it the 
right knee is bent. . The Sixth Position advances the 
left foot similarly. These two are used only in strong 
passion or highly dramatic action. 

228- The speaker should be free to change his posi- 
tion but should avoid too frequent moving about, which 
indicates nervousness. A few steps advance direct or 
in a diagonal as one takes up a new phase of thought 
or rises to the stronger argument adds life and energy 
to his discourse. A retiring movement in concession 
or after the close of a paragraph is frequently a relief 
if formalism or sameness be avoided. The occasion 
and the character of the discourse determine the 
amount of action required. 

229. Practice the following from Rienzi's Address: — 
Rouse, ye Romans! Rouse, ye slaves! 

Advance, Both Hor. Ob. Sup. 3d P. Repeat gesture. 

Have ye brave sons? Look in the next fierce brawl 

Rt. Ob. Hor. Sup. 

To see them die! Have ye daughters fair? Look 

Rt. F. D. Sup. Both Low. Ob. Sup. 5th P. (Fig 21.) 

To see them live, torn from your arms, distained. 

L. Hor. 6b. Av. L. Low. Ob. Av. 

Dishonored! and, if ye dare call for justice. 

L. D. Lat. Av. Rt. Hor. F. Slip. 

Be answered by the lash! Yet this is Rome 

Rt. D. F. Sup. Retire. 

That sat upon her seven hills, and from her throne 
Of beauty ruled the world. 

Both Hor. Lat. Sup. 

—Mitford. 



POSITIONS OF THE PBBT. 10 1. 

Suggestive questions: What gestures should be used 

in giving Art. 226 as a command to an army? Is the 
object of action to express thought, or to attract atten- 
tion to the gesture? Can you so enter into the spirit 
of Art. 229 that you hold the attention of the hearers on 
the thought and that they shall not think of you? You 
can see by their looks if you do. What position of the 
feet on the first line of Art. 229? How long shall you 
continue that position? 



102 STUDIES IX ACTION; VOCAL KXJ&RCISES. 



LESSON XXXIII. 
A RECITATION EXERCISE. THE TRUNK. 

231. Repeat Article 226. 

232. Practice on the following: 

He prayeth best, who loveth best 
All things both great and small: 
For the dear God who loveth us. 
He made and loveth all. 

— The Ancient Mariner — Coleridge. 

Give it, a. Solemnly, very slow. 

b. Sternly, Moderate Movement. 

c. Meditatively, Slow Movement. 

d. Reproachfully, Slow Movement. 

e. Kindly, Moderate Movement. 

f. As it should be; name the elements used. 

233. The Positions of the Trunk or Body 
are four: Composed, Forward, Backward and 
Wavering. 

The Composed or erect position is used in all ordi- 
nary speaking. (Figs. 2, 13.) 

The Forward Position indicates animated, progress- 
ive thought or motion. (Figs. 20, 21.) 

The Backward Position is the counterpart of For- 
ward Position. If the forward action is aggressive, 
the same with backward position would be defensive. 
If the forward is friendly, the backward is reserved. 



1IIK IKl'NK. 103 

If one gives, the other withholds. The former is hope- 
ful and bouyant, the latter is conservative. One achieves, 
the other withstands. 

The Wavering Position indicates embarrassment — a 
lack of self-possession. It is frequently illustrated when 
a boy makes his first speech. The remedy for it is 
practice. 

234. The body should front the audience squarely. 
Turning edgewise to the person addressed indicates dis- 
favor. (See Fig. 14.) Even in description, as a rule, 
one should not turn farther than sidewise to the 
audience. 

235. Examples for practice. 
Composed. 

The bravest battle that ever was fought, 

Shall I tell you where and when ? 
On the maps of the world you will find it not ; 

'Twas fought by the mothers of men. 

— Joaquin Miller. 

236. Forward. 

Come over, come over the river to me, 

If ye are my laddie, bold Charlie Machree. 

I see him, I see him: he's plunged in the tide, 

His strong arms are dashing the big waves aside. 

— William J. Hop pin. 

237. Backioard. 

Blow winds, and crack your cheeks! rage! blow! 

You cataracts and hurricanes, spout 

TiJl you have drenched our steeples, drowned the cocks ! 

You sulphurous and thought-executing fires, 

Vaunt-ccuriers to oak-cleaving thunder-bolts, 

Singe my whitehead. — King Lear — Shakespeare. 



104 STUDIES in action; vocal exercises. 

238. Repeat Article 22 ( .h 

Suggestive questions: What position of the feet suits 
the Composed Attitude? The Forward Attitude? Will 
gestures aid any in Art. 232? Do not use them unless 
they help. Who is represented as speaking in Art. 
236? How do the body and voice express the senti- 
ment of admiration in Art. 236? Shall the gestures be 
graceful in Art. 237? What is Lear's state of mind? 
Should there be much action in his speech? 



POSITION OF J III: HEAD. 105 



LESSON XXXIV. 
A RECITATION EXERCISE. THE HEAD. 

239. Repeat Article 232. 

240. Vocal Practice: — 

Am I a dog that thou comest to me with staves ? 
Come to me and I will give thy flesh unto the fowls of 
the air and to the beasts of the field. 

— I. Sam, 17: 43, 44- 
Speak it in, a. Pure Tone, Expulsive Form. 

b. Orotund, High Pitch. 

c. Aspirated, Explosive. 

d. Pectoral, High. 

e. Pectoral, Medium Pitch, Rapid. 

f. Pectoral, Medium Pitch, Slow. 

g. As it should be. 

241. The Position of the Head is very signifi- 
cant of character and sentiment, every slight change 
conveying a different impression. The varieties thus 
possible to the speaker are almost unlimited. It is well 
to classify a few of these. 

242. Before an audience the normal position of the 
head should be well up and erect, a position of strength 
to command, and grace to be at ease (See Fig. 2). 

243- When reading aloud the position of the head 
should be the same as when speaking without a book, then 
bring the book up and out from the body to the point 



106 



studies in action; vocal exercises. 



of view which suits the eye. 

244. Pupils are apt to 
get a habit of carrying the 
head too far forward. This, 
as well as cramped chest 
with rounded and drooping 
shoulders, needs to be guard- 
ed against by those who are 
much occupied at the desk. 

245. Recite the follow- 
ing with the head in a con- 
versational position; then 
bring the head upward 
and back just a little to 
the oratorical position and 
notice the difference in expression. 

And what was it, fellow-citizens, which gave to our Lafay- 
ette his spotless fame? The love of liberty. "What has conse- 
crated his memory in the hearts of good men? The love of 
liberty. What nerved his youthful arm with strength, and 
inspired him, in the morning of his days, with sagacity and 
counsel? The living love of Liberty. — Edward Everett. 

246. Repeat Articles 235-237. 

Suggestive questions. What are the proper elements 
of voice in Art. 240? How does one hold his head 
when he is very weary? In oral reading and silent 
reading should one ordinarily hold his head the same? 
In pleasant conversation should one hold his head in a 
fixed position or should it move freely? In the quota- 
tion in Art. 245 would it be well to increase the force 
gradually as one proceeds from the beginning to the end? 




Fig. 22. 



POSITION OF THE HEAD. 



I<)7 




LESSON XXXV. 
A RECITATION EXERCISE. THE HEAD. 

247. Repeat Article 240. 

248. Vocal Practice: 
Words learned by rote a parrot may 

rehearse; 

But talking is not always to con- 
verse: 

Not more distinct from harmony 
divine. 

The constant creaking of a country 
sign. — Cowper. 

Speak it in the tone that will 

most impress it on the mind of 

the hearer, in the tone that 

would give instruction in the 

most agreeable form. Make the tone pure and gentle, 

yet forceful. Speak it slowly with Effusive Form. 

249. The head is poised easily 
erect in normal thought. The head 
is inclined, — 

a. Forward in thoughtfulness 

(see Fig. 23). 

b. Forward and downward in 

care. 

c. Forward with the neck droop- 

ing in sadness. 

d. Forward with the chin curbed in sullenness(Fig. 24 ), 

e. With the face upward in happiness (Fig. 25). 



Fiff. 23. 




108 studies in action; vocal exercises. 

f. Backward with the neck firm in pride. 

g. Backward with the chin curbed in haughtiness. 
h. Backward with the neck relaxed in carelessness. 

i. Sidewise in questioning with one's self (Fig. 26). 

250. Will expresses itself in the rigidness of the neck 
and curbing of the chin. Haughtiness and obstinacy both 
include a large degree of will, the one combining a 
sentiment of victory, the other of defeat. A lack of 
will, on the contrary, expresses itself in a limp neck 
and a protruding chin (Fig. 18.) 

251. The carriage of the 
head thus becomes a very 
prominent indicator of char- 
acter. By correcting it, 
faults in the line indicated 
above may be overcome, 
while indulging in the ex- 
pression of any characteristic 
tends to confirm the charac- 
ter in that direction. You 
can also see that if you have 
allowed any wrong senti- 
ment to predominate, you 
should criticise yourself 
studiously, for otherwise it 
is possible for all men to 
read that fault in you. As Fio . 05 




POSITION" <>F THE HEAD. 



ion 



a practical hint: a good situation often turns upon the 
way the applicant holds his head. 

252. Apply the above suggestions to practice on the 
following: — 

a. Thoughtful:— 

My thoughts are whirled like a potter's wheel. — Shakespeare. 

b. Careless: — 

On with the dance! Let joy be unconfined. — Byron. 

c. Grumbling: — 

Lady Teasle, Lady Teasle, I'll not bear it! 

d. Teasing: — 

Sir Peter, Sir Peter, 3-ou may bear it or not as you please. I 
ought to have my own way in everything, and what's 
more, I will, too.— Sheridan. 

e. Sad, Questioning: - 




Pisr. 26. 



To be or not to be, 

that is the question. 

— Shakespeare. 

253. Repeat 
Article 245. 

Suggestive ques- 
tions. What qual- 
ity, Stress and In- 
flection would be 
used to make Art. 
248 a personal 
satire? How 
does a lazy man 
hold his head? 
T h e energetic 
business m a n? 



The dreamy sentimentalist? The generous, noble-hearted 



110 studies in action; vocal EXERCISES. 

man? The pouting boy? The arrogant one? What 
Stress in Art. 252, a? What Pitch in Art. 252, b? 
What Quality in Art. 252, c? What Movement in Art. 
252, df 



nil. COUNTENANCE. Ill 



LESSON XXXVI. 

A RECITATION EXERCISE. THE COUNTE- 
NANCE. 

254- Repeat Article 248. 

255. Vocal Practice: — 

The melancholy days are come, the saddest of the year, 
Of wailing - winds, and naked woods, and meadows brown 

and sere. 
Heaped in the hollows of the grove, the autumn leaves 

lie dead; 
They rustle to the eddying gust, and to the rabbit's tread. 

— Bryant. 

Put sadness and melancholy into the voice. Each 

succeeding phrase expresses a change in the sentiment; 

let the voice bring out the wailing of the wind, the 

sereness of the meadows, the rustling of the leaves. 

The poet has chosen very fitting words to represent 

these ideas. Picture in your mind the situation and 

add to the poet's art the expressiveness of voice. 

256. Facial expression is the most potent of all 
action. But while it is the most potent it is the most 
difficult to direct arbitrarily. The eye has been called 
the window of the soul, and we all know how difficult 
it is to prevent the soul's real sentiment from showing 
itself in the face. Emerson says, "An eye can threaten 
like a loaded and leveled gun, or can insult like hissing 
or kicking; or in its altered mood, by beams of kind- 



112 



STUDIES IN ACTION; VOCAL EXERCISES. 



ness, it can make the heart dance with joy." And it is 
not our province to counteract that expressive nature, 
but to cultivate and to control it. We should not aim to 
make the face a blank or a falsehood, but to so direct 
our minds that we shall feel the sentiment that we wish 
and then express it in all its fullness by a truth-telling 
countenance. The whole study of elocution is largely 
a study in soul-culture. To make the voice or the 
action express happy, noble or refined sentiments we 
must experience and cherish those sentiments. 

257. The Eye is ordinarily free and flexible in its 
position, though not vacillating (Fig. 2 7). A fixed 
position of the eye, or stare, 
denotes abnormal thought. In 
abstraction and subjective 
thought the eyes have a blank 
look (Fig. 23 ). If you attract 
the attention of a person thus 
occupied to some external ob- 
ject of interest you may notice 
the marked contrast as the 
eye lights up (Fig. 27). What 
we see in imagination affects 
the eye in much the same way 
as realities. This is especially true of children; older 
people restrain the expressiveness of the features, and 
often this is persisted in until they lose their power of 




Fig. 2' 



THE COUN1 i:\AMK. 1 13 

expression so that imagination fails to kindle any light 
in the countenance. 

258. Practice the following, applying the above 
principles: — 

«. Hi! Harry Holly! Halt— and tell 

A fellow just a thing or two. 

— Ethel Lynn. 

h. I would die together, and not my mind often, 

and my body once. — Bacon, 

c. Do not look upon me; lest with this piteous 
action you convert my stern effects. 

— Hamlet to the Qhoxt. 

259. Repeat Article 252. 

Suggestive questions. What elements of voice express 
melancholy? What Inflection to represent the wailing 
wind? Can you say the word, wailing, in such a way 
as to imitate the sound of the wind? Can you tell by 
the looks of a person's eyes whether he is looking at 
something on the window pane or at something in the 
distance? When one has his eyes on a book can you 
tell whether he is reading and perceiving the thoughts 
of the book or thinking on some other matter — a 
vision of his own mind? 



114 



STUDIES in action; vocal exercises. 



LESSOK XXXVIL 
A RECITATION EXERCISE. THE COUNTENANCE. 

260. Repeat Article 255. 

26 1 . Vocal Practice : — 
Hark! Hark! — The horrid sound 

Has raised up his head! 

As awaked from the dead, 
And amazed he stares around. 
Revenge ! Revenge ! Timotheus 
cries — 

See the furies arise ! 

— Alexander's Feast — Dryden. 

262. The Brow is knit in 

perplexity or concentration of 
thought (Fig. 28). It is raised 

in admiration or wonder (Fig.29). 

v & ; Fig. 28. 

It is lowered in contempt (Fig. 
24) or anger. Sorrow or pity 
furrows the brow (Fig. 30). Some 
people have a habit of wearing a 
frown, others of knitting the 
brow severely — in fact, all these 
states of mind are indulged until 
they become habitual with differ- 
ent persons. Every young person 
should study the expression of 
the countenance until he can criti- 
cise himself and avoid having his 





Fh?. 29. 



THE COUNTENANCE. 



11. "» 




Fig. 30. 



face written over with faults 
in temper. 

263. The Mouth or 

lips firmly set (Fig. 28 ) indi- 
cate positiveness, and lax or 
drooping (Fig. 25) indicate 
light-heartedness or vacancy 
of mind. Despondency, 
pouting and anger all show 
themselves in the appearance 
of the mouth, so that we say 
one is " down in the mouth," " his lips curl " or "quiver." 
Also we say " there is a smile on the lips," or " the lips 
are saucy." 

264. Every feature does its part in telling the con- 
dition or the character of the soul. The cheeks blush 
with modesty or shame and blanch with fear. The 
nostrils dilate with courage or generosity, and contract 
with meanness or stinginess. Delicacy, or hardness, 
patience or peevishness, kindliness or churlishness, cul- 
ture or crudeness, sweetness or sourness, breadth, depth 
or littleness, fashion the faces of the men and women 
and even the children that make up this multitudinous 
and ever-varying humanity. The expression of human 
thought and feeling combines harmoniously all the ele- 
ments of voice and action. 



116 studies ix action; vocal exercises. 

265. Practice the following in accord with the above 
principles: — 

" I pledge thee faith, my liege, my lord!— Oh! break my father's 

chain!" 
"Rise, rise! even now thy father comes, a ransomed man this 

day." 
His dark eye flashed, his proud breast heaved, his cheek's hue 

came and went, 
A lowly knee he bent to earth, his father's hand he took — 
He looked up to the face above — the face was of the dead ! 
" Came I not forth, upon thy pledge, my father's hand to kiss? 
Into these glassy eyes put light; — be still! keep down thine ire! " 
He loosed the steed, — his slack hand fell; — upon the silent face 
He cast one long, deep, troubled look, then turned from that sad 

place. — Extract from Bernardo del Carpio, by Mrs.Hemans- 

266. Repeat Article 258. 

Suggestive questions. What difference of Quality 
before and after the dash in the first verse of Art. 261 ? 
What Quality, Force and Stress in, "Revenge!"? 
Do you meet some strangers to whom you are free to 
speak, and others with whom you will not start conver- 
sation unless you must? Why? Can you sometimes 
tell by the looks of a mate when he is planning mischief? 
Can you see when he has something good to tell you? 
How many speakers are represented in Art. 265? (Ber- 
nardo begs the release of his father. The king grants it, 
but first has the father killed. ) 



PART THIRD. 

Selections for Analysis and Practice. 



LESSON XXXVIII. 
ANALYSIS AND INDUCTIVE STUDY. 

267. We now have the elementary principles of ex- 
pression. We have pursued the theory through its 
elements. It may be continued further with finer dis- 
tinctions, more precise analysis, and more specific 
application; but more than all these we need to put into 
practice what we have learned. By studious drill we 
must combine these elements of voice and action har- 
moniously to express thought. We have acquired the 
vocabulary and the principles of its use, so we are 
ready to begin a study which has no end. 

268. The first thing in taking up an unfamiliar 
passage to read is to discover what Style of Composition 
it is. This may be done in an instant by the trained 
reader. The voice from the beginning should then be 
adapted to the style. For our study we may name a 
few of the more widely distinguished varieties: — 

a. Conversational. d. Didactic. 

b. Narrative. e. Argumentative. 

c. Descriptive. f. Oratorical. 

117 



118 SELECTIONS FOR ANALYSIS ANT) PRACTICE. 

g. Noble. k. Humorous. 

A. Stately. I. Joyous. 

i. Grave. m. Light. 

j. Pathetic. h. Dialectic. 

269. The Open Window. 

The old house by the lindens 1 

Stood silent in the shade, 
And on the gravelled pathway 

The light and shadow played. 

I saw the nursery windows 5 

Wide open to the air; 
But the faces of the children, 

They were no longer there. 

The large Newfoundland house-dog 9 

Was standing by the door; 
He looked for his little playmates. 

Who would return no more. 

Concluded in next lesson. 

270. This is Descriptive composition, peaceful, with 
a tinge of sadness in the sentiment. Decide in your 
mind who is represented as speaking — man or woman, 
old or young. 

To whom does it seem to be addressed — to anyone in 
particular, to an audience, or is the speaker's attention 
all taken up with the scene? What do you judge of 
the character of the speaker as to kindness, sympathy, 
<fcc? Memorize the three stanzas. Speak them now 
as your own words. Did you use any of the sing-song — 
sameness of inflection? Where were your eyes — did 
you see the objects of which you spoke? How far 



Till-: OPEN WINDOW. 1 1 ( .' 

away? Were you close to the house, at the roadside, 
or in the distance? Was the attitude of your body easy, 
quiet and interested? Was the tone Pure, and the Form 
Effusive? What Inflection on "lindens?" It should 
be slightly Rising — just the same as if those words were 
written in prose, but there should be a pause at the end 
of each line to bring out the poetry. In the fourth line, 
which word is more emphatic, " shadow "or " played? " 
In the twelfth line, "would " or "return? " Would a 
gesture help on the second line? It is a pleasant scene, 
what Position of the hand is wanted? What Direction? 
There are two or more "nursery windows," what Posi- 
tion of the hand will best designate them? How can you 
express the disappointment at not seeing the " children 
there? " The voice and the hand will both show it. 

Drill over it again and again, applying each suggestion 
till you have made it a real scene. Always give it with 
the expression of voice and action all as it should be, as 
nearly as possible. When you have decided on a ges- 
ture, use it every time in its place. 



120 SELECTIONS FOR ANALYSIS AXD PRACTICE. 



LESSON XXXIX. 

ANALYSIS AND INDUCTIVE STUDY. 

The Open Window, Concluded. 

271. They walked not under the lindens, 13 

They played not in the hall; 
But shadow, and silence, and sadness 

Were hanging over all. 
The birds sang in the branches.. IT 

With sweet familiar tone; 
But the voices of the children 

Will be heard in dreams alone. 
And the boy that walked beside me, 21 

He could not understand 
Why closer in mine, ah ! closer, 

I pressed his warm, soft hand! 

H. W. Longfellow. 

272. Decide in your mind a definite location for 
each part of the scene. All the action will be slow and 
graceful to bring out the tenderness of the sentiment. 
Where are the " lindens " — between you and the " hall "? 
Did you see each place when you mentioned it? How 
does the voice express the sentiment indicated in the 
word shadow? You will observe that those words indi- 
cate primarily sentiment, for it would be just as shady if 
the children were there though it would not seem so to 
the speaker whose happiness, or sunshine, depended, on 
their presence. What difference in the voice to express 
" shadow" and " silence"? Of the three words in the 



THE OPEN WINDOW. 121 

series, "shadow" requires the Lowest Pitch and the 
nearest Orotund Quality, while "sadness" requires 
Falling Inflection. The same line might be aided by a 
slight gestnre,of the left hand, Lower, between Prone 
and Averse. The first part of the fifth stanza is a 
beautiful, happy thought, and the pathos of the last part 
is the stronger for the contrast. What gesture might 
be used on the first part of the stanza? If it is a ges- 
ture to designate the location, what word should it cul- 
minate upon? In this gesture did you preserve the 
location that you had decided upon for the "lindens"? 
Since the thought is pleasing, what position of the hand 
should be used? What difference between the first and 
last part of the stanza as to the prevailing inflection? 
The last stanza leaves the picture and is addressed di- 
rectly to the hearer. Does it seem to be addressed to 
one who would sympathize with the speaker — to one 
who will "understand"? What do you think had be- 
come of the children? What do you think was the re- 
lation of the speaker to the children — brother, parent, 
friend or stranger? What is your opinion of this poem? 
Is it true to life? Is it better in what it says or what it 
suggests — would it be better if it told what his feelings 
were instead of suggesting them in the last stanza? 



122 SELECTIONS FOR ANALYSIS AND PRACTICE. 



LESSON XL. 
ANALYSIS AND INDUCTIVE STUDY. 

273. HOHENLINDEN. 

On Linden, when the sun was low, 1 

All bloodless lay the untrodden snow, 
And dark as winter was the flow 
Of Iser rolling rapidly. 

But Linden saw another sight, 5 

When the drum beat at dead of night, 
Commanding fires of death to light 
The darkness of her scenery. 

By torch and trumpet fast arrayed, 9 

Each horseman drew his battle blade. 
And furious every charger neighed 
To join the dreadful revelry. 

Then shook the hills with thunder riven, 13 
Then rushed the steed to battle driven, 
And louder than the bolts of heaven, 
Far flashed the red artillery. 

Concluded in next lesson. 

274. What style of composition is this? (Art. 
288.) What sentiment in the first stanza? Note the 
difference between the first and second stanza as to sen- 
timent. The beautiful scene in the first with only a 
suggestion as to the carnage that shall follow makes the 
battle all the more vivid by the contrast when it comes. 
Let the delivery be in harmony with this effort of the 
poet. Picture to yourself a winter scene with its hills, 



iioii i:\ i.i \i)i:\. L23 

woods, river and fresh-fallen snow. Would a gesture 
on the second line help to picture the snow all smoothly 
spread? Do not make the gestures too close to you, 
thus making the scene too small. Shall the culmination 
of the gesture be a fixed point or moving, as over a sur- 
face? Let the movement be outward from the front as 
a center. Nearly all graceful gestures start from the 
front as a center. Let the voice be Effusive on the first 
stanza. Did you emphasize " when " in the first line or 
"was" in the third? You should not. Never sacrifice 
sense to meter. Why is the river said to be dark? Is 
winter darker than summer? Let the hand, Prone, 
trace the course of the river throughout the fourth line. 
Did you make it run up hill? Did you look at the 
river or your hand while you said it? Locate every- 
thing precisely and consistently as an artist would, and 
see it. On commencing the second stanza, what change 
in all the Elements of Voice? Did your voice sound 
like a "drumbeat"? What different sentiment would 
it arouse at "dead of night" and in day time? What 
were the " fires of death " ? Locate them with the hand. 
Supine or Prone? Are they pleasing or not? See 
the light flashing on the undulating tree tops. Will a 
gesture aid that idea? Final Stress in the third stanza. 
Increase of Force. Say " rushed " so as to mean it. 
Also, " battle ", " driven", "shook ", " thunder ", 
< ' riven ". What vividness is gained by the poet's 



124 ANALYSIS AND INDUCTIVE STUDY. 

assigning the sound (loudness) to the flash which 
attracts the eye! Do you personate an actor in this 
scene, or a spectator? Is your countenance and whole 
body alert when you give it, as it would be if you wit- 
nessed the real scene? Designate the artillery by the 
Prone hand, and indicate the " flash" by suddenly rais- 
ing the hand from the wrist, giving it the Averse 
position. 



IloilKNLIXDEN. 125 



LESSON XLI. 
ANALYSIS AND INDUCTIVE STUDY. 

HOHENLINDEN, Concluded. 

275. But redder yet those fires shall glow, 1' 



On Linden *s hills of stained snow; 
And darker yet shall be the flow 
Of Iser rolling' rapidly. 

"Tismorn, but scarce yon lurid sun 21 

Can pierce the war clouds rolling dun. 
Where furious Frank and fiery Hun 
Shout in their sulphurous canopy. 

The combat deepens. On, ye brave, 25 

Who rush to glory or the grave! 
Wave, Munich! all thy banners wave, 
And charge with all thy chivalry! 

Ah! few shall part where many meet! '29 

The snow shall be their winding sheet. 
And every turf beneath their feet 
Shall be a soldier's sepulchre. 

Thomas Campbell. 

276. Where is the sun? In front, oblique, or lat- 
eral, as you face the battle field? What is meant by "war 
clouds"? What Form and Stress in " furious Frank"? 
Meaning of "Frank" and "Hun"? Do the adjectives 
indicate their national characteristics? It may seem 
as if the last question has nothing to do with elocu- 
tionary expression, but this is a historic poem and we 
need to remember that the true interpreter of thought 
must appreciate its relation to other things in order to 



126 SELECTIONS FOR ANALYSIS AND PRACTICE. 

give it its fullness of meaning. For this reason the 
reader should know the history of this battle. What 
gesture on " sun "? With the Prone hand, the upward 
"rolling" of the smoke could be designated. What 
change in voice to express, "The combat deepens "? 
Enter into the spirit of it as a spectator who would 
cheer them on in the words, "On, ye brave.'' Suit a 
gesture to that idea including encouragement, advance, 
and great energy. " On " is the imperative word and 
should receive the gesture. Let the body incline forward 
and join in the action. Avoid any tendency to turn the 
body sidewise to the scene; face it squarely. Let the 
countenance — the eye, the brow and the lips be all alive 
to the desperate culmination of the battle. (Arts. 25*7, 
262, 263.) Try a Front, Supine, upward gesture, and 
voice climacteric throughout the line. Withdraw the 
hand to position before the next line, on which a gesture 
of both hands Horizontal Supine may be used. Is the 
emphatic word, "charge", or "chivalry"? What Quality. 
Stress and Form do you give to "charge"? About 
how many people is it addressed to? Would you mod- 
ify the voice from the fact that the din of battle was 
raging? Would you aim to make beauty and grace, or 
power and energy most prominent in this stanza? 

Now an entire change in the expression is needed be- 
fore commencing the last stanza. What prevailing sen- 
timent takes possession of the speaker? The energy 



HOHENLINDBN. 127 

is gone. That little word, "Ah", should tell the whole 
tale of sadness and horror. Interjections give expres- 
sion to feeling when feeling overpowers thought. Suit 
the gestures to the succeeding thoughts. Do not let 
the body become at once composed. 



128 SELECTIONS FOR ANALYSIS AND PRACTICE. 



LESSON XLII. 
ANALYSIS AND INDUCTIVE STUDY. 

277. The Main Truck, or A Leap For Life. 

Old Ironsides at anchor lay, 

In the harbor of Mahon; 
A dead calm rested on the bay, — 

The waves to sleep had gone; 
When little Hal, the captain's son. 

A lad both brave and good, 
In sport, up mast and rigging ran, 

And on the main truck stood. 

A shudder shot through every vein, — 

All eyes were turned on high! 
There stood the boy, with dizzy brain, 

Between the sea and sky; 
No hold had he above, below. 

Alone he stood in air; 
To that far height none dared to go, — 

Xo aid could reach him there. 

Continued in the next lesson. 

278. What style of composition? (Art. 268.) 
What sentiment in the first part? To one who had 
observed this scene would it be visible in imagination 
as he related it? So shall it be to you. Conceive defi- 
nite ideas of it at each successive step. What sort of 
a vessel do you think " Old Ironsides " was — large or 
small? A pleasure boat, a freight carrier, a passenger 
vessel or a war ship? Suit the voice to that idea. 
What beauty is suggested in the quiet water scene! 



THE MAIN TRUCK, 1 lM* 

No wonder a boy would play about the ship. What 
position of the hand in a gesture to indicate a " dead 
calm "? (Art. 208.) Were there any waves when they 
had "gone to sleep"? Can you show by your coun- 
tenance your admiration of "little Hal"? Can you 
indicate the ascent with the Supine hand, changing it to 
Index as you reach the top of the mast? At what point 
does the idea of danger first strike the mind? If you 
have felt a real admiring interest in the boy, that sense 
of danger is the more fearful when it comes. That 
" shudder " shows itself in your voice and every feature. 
The hands at once assume the half-Averse position. 
The whole expression from that point through the 
stanza is one of horror and questioning what to do. 
At the same time one would watch the boy's every 
move. Note in what elements the voice is changed 
from what it was in the first part. The Quality is 
changed from Pure to slightly Aspirated, the Pitch is 
lower, the Force is subdued as if fearing to distract 
the boy and cause him to fall. Action? Yes, or rather 
the repression of action. The hearer feels when the 
soul is stirred, even though the speaker suppress his 
emotion. To read that stanza with the soul un- 
moved is to make the reading belie the words, for all 
humanity is aroused with sympathy for a child in 
danger. Let the scene portrayed occupy your whole 
mind and let not present Biirronndings confuse the clear 
picture in your imagination. 



130 SELECTIONS FOR ANALYSIS AND PRACTICE. 



LESSON XLIII. 
ANALYSIS AND INDUCTIVE STUDY. 

279. The Main Truck, or A Leap for Life. 

Concluded. 

"We gazed, but not a man could speak.' 

With horror all aghast— 
In groups, with pallid brow and cheek, 

We watched the quivering mast. 
The atmosphere grew thick and hot, 

And of a lurid hue; — 
As riveted unto the spot. 

Stood officers and crew. 

The father came on deck: — he gasped, 

" O, God! thy will be done! " 
Then suddenly a rifle grasped, 

And aimed it at his son. 
" Jump, far out, boy, into the wave! 

Jump, or I fire," he said. 
" That only chance }our life can save; 

Jump, jump, boy! " He obeyed. 

He sunk — he rose — he lived — he moved — 

And for the ship struck out. 
On board we hailed the lad beloved, 

With manj r a manly shout. 
His father drew, in silent joy, 

Those wet arms round his neck. 
And folded to his heart his boy, — 

Then fainted on the deck. 

Walter Cotton. 

280. Is it true that such a situation takes one's 
breath away? The management of the pausing is one 
of the chief studies in this lesson. Do not let the 



THE MAIN TRUCK. 131 

emotion subside, but rather increase to the climax. 
What made the " atmosphere thick and hot? " Have 
you any idea what time of day it was? Is there another 
reason for that expression? Ordinary language repre- 
sents impressions rather than literal facts, for example, 
the fourth stanza of Art. 273, " Then shook the hills with 
thunder riven, " also Psalm 114, 4. Would it add an 
element of hope to have the "father come on deck?" 
A new interest is aroused to see what lie will do. When 
you speak the father's words shall you say them as he 
did, as nearly as possible? What sentiment prevails 
in his first statement of exclamation? What in his 
command? Let the words ring out in Explosive Form, 
almost Impassioned Force, and Final Stress. The scene 
indicates a man of quick decision and powerful will — 
a captain in fact as well as in name. Give the narra- 
tive words, "he said," and "he obeyed," in your own 
tone; do not project the father's tone into them. Did 
your eyes follow the boy in his downward course as he 
jumped? They would if you really saw him. With 
what eager suspense you would watch for him when he 
sunk till he rose. Almost despair, turned into hope 
and increased to joy as he lived and moved. Let the 
action be such as an interested spectator would use if 
the scene were real — body forward, hands half raised 
almost Averse as he sinks, changing to Supine and rising 
toward the horizontal as he rises, <fec And when he 
is saved there is a happy relaxation of mind and body. 



132 SELECTIONS FOR ANALYSIS AND PRACTICE. 



LESSON XLIV. 
ANALYSIS AND INDUCTIVE STUDY. 

281. Having A Clean Mouth. 

My boy, the first thing you want to learn — if you haven't 
learned to do it already — is to tell the truth. The pure, sweet, 
refreshing, wholesome truth. The plain unvarnished, simple, 
everyday, manly truth, with a little " t". Truth with a big "T" 
— the vague, intangible, unmeaning Truth of a man with an 
"ism" and the woman with a fad— has been arrayed by her 
votaries in so many robes of garish hues and ever- varying 
colors, that Joseph in his Sunday coat, would look like a nun 
in mourning along side of her. Just you tell the truth. 

— Continued in Vie next lesson. 

282. What is the style of composition? What 
Elements of voice suit that style in general. Who is 
represented as speaking? What idea do you form of 
his character, age, disposition toward boys? The tone 
in this example, as well as the manner, must be entirely 
personal and yet very kindly. The speaker feels a 
genuine friendship for this boy. His talk has none of 
the apparently distant feeling which boys sometimes 
call "lecturing" them. Did you speak it as if you had 
a real interest in the boy's welfare so that " My boy n 
seemed like a father's words rather than the words of 
an owner? That same first sentence could be said in 
such a way as to reprove the boy for an untruth just 
told, but that would hardly be in keeping with the gen- 
eral temper of the talk. The body should not be rigidly 



HAVING A CLEAN MOUTH. 183 

erect. There is more in how you say it than in what is 
said, to make the right impression on a boy. If there is 
action of the hands — and there probably would be in 
really free conversation — it should be not demonstrative 
but easy, graceful Forearm gesture; not the full large 
gesture of public address, not the Oblique or Lateral 
gesture, which would be impersonal in its object and 
more general in its thought, not a downward gesture of 
emphasis or positiveness, which would indicate authority 
or compulsion, while in fact anyone can tell untruths if 
he will do it. The poise of the head will need attention 
too. Do not yield to the feeling that the more you try, 
the less you succeed, in being easy and graceful. There 
is a grace that comes from self-forgetfulness, but it is the 
grace of the sleep w T alker, and not much safer for the 
speaker to rely upon. For just at the critical moment 
some untoward circumstance may compel his attention 
to what he is doing, and occasion a fall, unless his powers 
are trained to act at the direction of his will. 



134 SELECTIONS FOR ANALYSIS AND PRACTICE. 



LESSON XLV. 
ANALYSIS AND INDUCTIVE STUDY. 

283. Having A Clean Mouth, Continued. 

For one thing it will save you so much trouble. Oh, heaps of 
trouble. And no end of hard work. And a terrible strain upon 
your memory. Sometimes — and when I say sometimes, I mean 
a great many times — it is hard to tell the truth the first time. 
But when you have told it, there is an end of it You have won 
the victory; the fight is over. Next time you tell that truth you 
can tell it without thinking. Your memory may be faulty, but 
you tell your story without a single lash from the stinging whip 
of that stern old task- master, Conscience. You don't have to 
stop and remember how }-ou told it yesterday. You don't get 
half through with it and then stop with the awful sense upon 
you that you are not telling it as you did the other time, and 
cannot remember just how you did tell it then. You won't have 
to look around to see who is there before you begin telling it. 
And you won't have to invent a lot of new lies to re-enforce the 
old one. After Ananias told a lie his wife had to tell another 
just like it. You see if you tell lies you are apt to get your 
whole family into trouble. Lies always travel along in a gang 
with their coequals. — Continued in the next lesson. 

284. Notice the effect of many short sentences — 
making it simply conversational, vivacious, with fre- 
quent lively turns in the thought. Strive to preserve 
these same qualities in speaking it. Avoid the arguing 
tone — the tone which tries to convince him of what you 
are saying. Rather assume that he believes you, that 
he trusts every word, and use the tone and manner that 
would simply call to mind that which will commend itself 



HAYING A CLEAN MOUTH. 135 

to his own judgment. Be the friend that would point 
out to him the best road with a confidence that he would 
choose that road himself if he knew the facts. With 
all the humor that the author has put into this selection 
it is so written as to leave a serious impression. You 
have heard serious things so said as to make them 
ridiculous, here w T e have the exact converse of that. 
Can you analyze those two cases and tell what it is in 
the voice and action that makes people laugh at what 
is meant to be serious, and how it differs from this 
case ? 

This selection will need much practice to make it 
life-like. The voice is modulated most frequently in 
the simple conversational style of speaking. The 
changes are slight but frequent. The Inflection is con- 
stant and varied. Emphasis must be correct, and Pauses 
are important. There are two common faults in speak- 
ing this kind of thought, the monotonous, in which the 
voice is not modulated enough, and the mechanical, in 
which the voice is modulated arbitrarily — without re- 
gard to the sense. The latter is sometimes called Inton- 
ation. 



136 SELECTIONS FOB ANALYSIS AND PRACTICE. 



LESSON XLVI. 
ANALYSIS AND INDUCTIVE STUDY. 

285. Having A Clean Mouth, Continued. 

And then, it is so foolish for you to lie. You cannot pass a lie 
off for the truth, any more than you can get counterfeit money 
into circulation. The leaden dollar is always detected before it 
goes very far. A bogus quarter is always found out in a little 
while. When you tell a lie it is known. Yes, you say "God 
knows it? " That's right; but he is not the only one. So far as 
God's knowledge of it is concerned, the liar does not care very 
much. He doesn't worry himself about what God knows 
— if he did, he wouldn't be a liar; but it does worry the man. 01 
boy, who tells lies to think that everybody else knows it, The 
other boys know it; your teacher knows it: people who hear you 
tell "whoppers" know it: your mother knows it, but she won't 
say so. And all the people who know it. and don't say anything 
about it to you, talk about it to each other, and— dear! dear! the 
things they say about a boy who is given to telling big stories.' 
If he could only hear them it would make him stick to the trutt 
like flour to a miller. — Robert J. Burdette. 

286. Now, please do not become impatient because 
you have this third lesson on the same selection. The 
only trouble is that there is not more time to give to 
every selection. A fortnight of persistent, energetic 
practice, drill and study on such a selection is the least 
with which you should hope to master it. 

Which is more emphatic, " so " or " foolish? " Will it 
be an advantage to put a circumflex slide on " foolish? " 
Should "money" or " circulation " have the greater 



HAVING A CLEAN MOUTH. L3*7 

emphasis? Let the reading bring out the comparison 
between, "leaden dollar," "bogus quarter" and "tell a 
lie." Also you can add to the effect by a slight climax 
(Art. 149), in speaking those three sentences. Do 
not use a circumflex on " God knows it." That would 
be suggesting that the boy is a scoffer, which is not in 
harmony with the general character that is given him. 
It is assumed that he is more noble than that, even if it 
be only assumed. How do you bring out the contrast 
between what "doesn't worry " and " does worry " the 
liar? More, or less force on " but she won't say so?" 
What reason is implied why she won't say so, since the 
others tell it among themselves? In the expression, 
"and — dear! dear!" do not emphasize "and." Very 
few pupils can read right up to a dash as if there were 
no dash there, but the very purpose of the dash is to 
indicate an unpremeditated break in the speech. What 
feeling should be expressed by the interjection, "dear! 
dear!"? Petulance? Chagrin? Exultation? Sorrow? 
Dread, or something else? Can you suit a gesture to 
the exclamation that will help to express the feeling? 
A very slight turning away of the head together with 
Averse hand may sometimes be used even in conversa- 
tion to express a disagreeable thought. 



138 SELECTIONS FOR ANALYSIS ASl) PRACTICE. 



LESSON XLVIL 

287. The American Flag. 

When Freedom from her mountain height, 

Unfurled her standard to the air, 
She tore the azure robe of night, 

And set the stars of glory there! 
She mingled with its gorgeous dyes 
The milky baldric of the skies, 
And striped its pure celestial white 
With streakings of the morning light; 
Then, from his mansion in the Sun, 
She called her eagle bearer down, 
And gave into his might}- hand, 
The symbol of her chosen land ! 

Majestic monarch of the cloud! 

Who rear'st aloft thy regal form, 
To hear the tempest-trumpings loud, 
And see the lightning lances driven 

When strive the warriors of the storm, 
And rolls the thunder-drum of heaven, — 
Child of the Sun! to thee 'tis given 

To guard the banner of the free, 
To hover in the sulphur smoke, 
To ward away the battle-stroke, 

And bid its blendings shine afar, 

Like rainbows on the cloud of war. 
The harbingers of victory ! 

— Continued in the next lesson. 

288. Style of composition? Prevailing sentiment? 
Much emotion, or little? What general difference 
between the first and second stanzas? As a rule, the 
voice at the beginning of every speech should be keyed 
near to the common sentiment of the audience. Unless 






THE A. M ERIC AN FLAG. 1 :'.'.> 

so me thing has already raised their thoughts above the 
commonplace the speaker should commence in an nnim- 
passioued tone. It may be dignified, it may be strong, 
it may be energetic or joyous, but it should not be far 
above the general sentiment of the hearers lest they be 
taken by surprise and fail to follow the thought. As 
when, without any apparent cause of alarm, a speaker 
starts with a torrent of passion, the people wonder 
what has happened to him that he should take on so, 
and fail to enter into the spirit of what he is saying. 
And if he once runs away from them it is not so easy 
again to get command of their minds. The occasion 
may have already stirred all hearts with emotion, in 
which case the speaker will be in no danger of over- 
reaching them. For the reasons just stated, no gesture 
will probably be wanted on the first two lines of this 
selection. Freedom is here personified as a majestic 
woman, and the leading idea is, where she got the 
design and the colors for the flag. For this reason the 
gesture on the third line should not be imitative of the 
" tearing " nor of placing the stars on the flag, but 
rather a simple gesture of direction to the broad ex- 
panse of blue sky, the scattered stars, the Milky Way, 
and the morning glow, successive. Do not put the first 
gesture too high. We do not ordinarily see the sky 
directly overhead. Study each point in the picture and 
let the expression increase in loftiness to the full sublime 
in the second stanza. 



140 SELECTIONS EOR ANALYSIS AND PRACTICE. 



LESSON XL VIII. 

289. The American Flag, Continued. 

Flag of the brave! thy folds shall fly. 
The sign of hope and triumph high ! 
When speaks the signal-trumpet tone, 
And the long line comes gleaming on, 
Ere yet the life blood, warm and wet, 
Has dimm'd the glistening bajxmet, 
Each soldier's eye shall brightly turn 
To where thy sky-born glories burn, 
And, as his springing steps advance, 
Catch war and vengeance from the glance. 
And when the cannon mouthings loud 
Heave in wild wreaths the battle shroud, 
And gory sabers rise and fall 
Like shoots of flame on midnight's pall, 
Then shall thy meteor glances glow. 

And cowering foes shall shrink beneath 
Each gallant arm that strikes below 

That lovely messenger of death. 

Flag of the seas ! on ocean wave 
Thy stars shall glitter o'er the brave; 
When death, careering on the gale, 
Sweeps darkl} r round the bellied sail, 
And frightened waves rush wildly back 
Before the broadside's reeling rack, 
Each dj-ing wanderer of the sea 
Shall look at once to heaven and thee. 
And smile to see thy splendors fly 
In triumph o'er his closing eye. 

Flag of the free heart's hope and home, 
By angel hands to valor given. 

Thy stars have lit the welkin dome. 
And all thv hues were born in heaven. 



THE A.MKKH AN FLAG. 141 

Forever lloat that standard Bheel ! 

Where breathes the foe but falls before us? 
With Freedom's soil beneath our feet. 

And Freedom's banner Boating o'er us. 

— Joseph Rodman Drake. 

290. In the apostrophe to the flag, face directly to- 
ward it. If you locate it obliquely to yourself and the 
audience you can face toward it when you address it, 
without turning too far away from the audience. Inci- 
dentally it may be mentioned here that we should never 
turn the back to our audience, nor turn the body further 
away from it than to the lateral. The flag should be 
located slightly above the horizontal to fit the senti- 
ment as well as the thought. Hear the " signal-trumpet 
tone". See the " long line". What is it that is "gleam- 
ing"? Thorough Stress, changing to Final on the fifth 
line of the stanza. Explosive Form. Medium Pitch, 
changing to Low on "the cannon mouthings". Here 
is a magnificent scene calling forth all the powers 
of expression — voice, body, eyes and hands. Where 
is the climax? Imitative gesture may be used to 
advantage here, on "heave in wild wreaths" and 
" g 01 T sabers rise and fall ". Do not change the point 
of view: personate a spectator throughout the stanza. 
Make an extended pause between the stanzas to allow a 
change of the scene. To this end change the position, 
relax the body and the voice. 

Commence the next stanza more effusively. Did yon 
articulate distinctly the second line? Give a clear, 



142 SELECTIONS FOR ANALYSIS AND PRACTICE. 

clean-cut tone to "glitter"; a deep, stern tone to 
" death ". The author has chosen words which fit the 
sound to the sense. Let the voice bring out this char- 
acter till the sweeping of the death-ridden gale and the 
rush of the waves can be heard. Mark the difference 
between a " smile " of triumph and a smile of peace. 
Do not let the last stanza be weaker than the preceding. 
It indicates one's feelings when he has just won a vic- 
tory in a battle or in a storm — a feeling of awe, exult- 
ation, patriotism — rejoicing not in himself, but in his 
nation that makes his triumph possible. 



143 



LESSON XLIX. 

291. Liberty. 

Liberty, gentlemen, is a solemn thing — a welcome, a joyous, 
a glorious thing, if you please: but it is a solemn thing. A free 
people must be a thoughtful people. The subjects of a despot 
may be reckless and gay if they can. A free people must be 
serious; for it has to do the greatest thing that ever was done in 
the world — to govern itself. 

That hour in human life is most serious, when it passes from 
parental control into free manhood; then must the man bind the 
righteous law upon himself, more strongly than father or mother 
ever bound it upon him. And when a people leaves the leading- 
strings of prescriptive authority, and enters upon the ground of 
freedom, that ground must be fenced with law; it must be tilled 
with wisdom; it must be hallowed with prayer. The tribunal 
of justice, the free school, the holy church must be built there 
to intrench, to defend, and to keep the sacred heritage. 

Liberty, I repeat, is a solemn thing. The world, up to this 
time, has regarded it as a boon — not as a bond. And there is 
nothing, I seriously believe, in the present crisis of human 
affairs, there is no point in the great human welfare, on which 
men's ideas so much need to be cleared up— to be advanced — to 
be raised to a higher standard, as this grand and terrible responsi- 
bility of freedom. 

— Continued in the next lesson. 

292. What style of composition? For what sort of 
an occasion is it suited? What is the prevailing senti- 
ment? To whom is the speaker talking — himself, a few, 
or a large company? What elements of voice in gen- 
eral will it require? Will the gestures be descriptive, as 
in Lesson XL., aiding to bring out a picture, or declara- 
tive, giving force and clearness to declarations? 



144 SELECTIONS FOR ANALYSIS AND PRACTICE. 

This is a style of delivery that is worthy of much atten- 
tion, since real life affords so many occasions for using 
it. In all affairs where men deliberate for united action 
there is need of this persuasive style — in business, in 
politics, in religion, in public and in private life. It is 
argument, though not debate. It is full of noble emo- 
tion, but not impassioned. Occasions are rare in which 
impassioned oratory is demanded. But occasions are 
ever present which demand emotion to stir men's soul's 
and cause them to act. The action in this speech should 
be strong rather than abundant. It should be free, 
graceful and dignified. It should indicate decision and 
earnestness rather than determination; it should be 
Front to Oblique in Longitude, and in the upper plane 
as well as the lower and downward lines. It is an ap- 
peal to men's judgment which requires mostly the 
Supine hand. There is definiteness in the third para- 
graph which may call for the Index finger. There is 
hope, and there are great interests at stake demanding 
heroism, both of which express themselves in upper- 
plane gestures. But more than all else there is an 
earnestness and loftiness of purpose which express 
themselves in the carriage of the body, the poise of the 
head and the soul-fire in the eye. 



LIBEBTY. 145 



LESSON L. 

293. Liberty, Continued. 

In the universe there is no trust so awful as moral freedom; 
and all good civil freedom depends upon the use of that. But 
look at it. Around every human, every rational being, is drawn 
a circle; the space within is cleared from obstruction, or, at 
least, from all coercion; it is sacred to the being himself who 
stands there; it is secured and consecrated to his own responsi- 
bility. May I say it? — God himself does not penetrate there 
with any absolute, any coercive power! He compels the winds 
and waves to obey him; he compels animal instincts to obey 
him; but he does not compel man to obey. That sphere he leaves 
free; he brings influences to bear upon it; but the last, final 
solemn, infinite question between right and wrong, he leaves to 
man himself. 

Ah! instead of madly delighting in his freedom. 1 could 
imagine a man to protest, to complain, to tremble that such a 
tremendous prerogative is accorded to him. But it is accorded 
to him; and nothing but willing obedience can discharge that 
solemn trust; nothing but a heroism greater than that which 
fights battles, and pours out its blood upon its country's altar — 
the heroism of self-renunciation and self-control. 

Come that liberty! I invoke it with all the ardor of the poets 
and orators of freedom; with Spenser and Milton, with Hampden 
and Sidney, with Kienzi and Dante, with Hamilton and "Wash- 
ington, I invoke it. Come that liberty! Conic none that does 
not lead to that! Come the liberty that shall strike off even- 
chain, not only of iron, and iron-law, but of painful constric- 
tion, of fear, of enslaving passion, of mad self-will; the liberty 
of perfect truth and love, of holy faith and glad obedience! 

— Orrille Dart //. 

294. In this selection we have a climacteric advance 
from beginning to end — not continuous, each paragraph 



146 SELECTIONS FOR ANALYSIS AND PRACTICE. 

constitutes a climax, and the mind relaxes somewhat 
before beginning the next; but each paragraph as a 
whole is a step higher and stronger than the preceding. 
The delivery should conform to this character of the 
composition. Manage the breath in the long sentences 
so as to give them smoothness. Manage the Inflection 
so as to avoid sameness and yet preserve continuity of 
the thought. To preserve the though tfulness of this 
selection — the philosophic, compact thought, and yet 
give it all the energy of powerful emotion; to reiterate, 
to illustrate, and yet make every word add to what has 
gone before; and all the while to keep the emotion sub- 
ject to accurate reasoning; will give scope to all the 
powers of the orator. You can do it. Study the 
author's thought till you have it clear. Criticise your 
every tone; prune every gesture; enter into the spirit 
of responsibility that the thought calls for, into sym- 
pathy with the noble land and time in which you live; 
and then drill, drill, drill, till you express it. 



INDEX. 



Abdominal Breathing Art. 47 

Action 179 

Arm Exercises 10, 18, 37. 103, 148, 152, 161 

Arm in Gesture 221 

Articulation 105. 113, 119, 124 

Aspirate Quality 14 

Averse Hand 191 

Backward Position 233 

Body Bending Exercise 77, 161 

Body Torsion 92 

Breath, Management of 133 

Breathing 46, 58, 67 

Brow, Expression of 262 

Characteristic Words 168 

Chart of Action Page 5 

Chart of Vocal Expression Page 4 

Chest Breathing Art. 67 

Chest Percussion Exercise 118 

Clenched Hand : 203 

Climax 149 

Coiling the Arm 18 

Compound Stress 95, 99 

Command, An Exercise in 226 

Composed Position 233 

Costal Breathing 58 

Dead Still Exercise 139 

Directions of Gesture 180 

Drill Position 2 

Elocution, Definition of 1 

Emphasis 153 

Erect Position "2 

Essential Elements of Voice (> 

Eye, Expression of &5*J 

147 



148 INDEX. 

Facial Expression 356 

Final Stress 88. 00 

Finger Exercise 173 

First Position 8 

Flexion Exercise of the Arm 10 

Flexion Exercise of the Neck 85 

Flexion Exercise of the Waist 77 

Feet, Positions 227 

Foot Exercise 25. 129. 161. 166 

Force 38 

Fore Arm 221 

Form 78 

Forward Position 233 

Full Arm 221 

Guttural Quality 21 

Hand, Positions 185 

Hand in Repose 217 

Index Hand 198 

Inflection 69 

Latitude in Gesture, 180 

Laughing Exercise 184 

Lips, Expression of 263 

Longitude in Gesture 180 

Median Stress 93. 98 

Mouth, Expression of 263 

Movement 60 

Nasal Quality 22 

Neck Exercise 85. 112, 123 

Onomato poetic Words 168 

Oral Quality 15 

Orotund Quality 13 

Pauses 130, 141 

Pectoral Q uality 20 

Penetrative Voice 202 

Percussion Exercises 118, 123 

Phrasing 125 

Pitch 49 

Poetic Readinsr 162 



INDKX. L49 

Position, Drill 2 

Speaker's 8 

of Body 233 

of the Feet, 1st 8 

2nd 8 

3rd 227 

4th 227 

5th 227 

6th 227 

of the Hand 185, 217 

of the Head 241, 249 

Prone Hand 208 

Pronunciation 105, 113, 119, 124 

Pure Tone 3, 7 

Quality 7, 11 

Radical Stress 88, 89 

Reading Poetry 162 

Reading, Position of Head in 243 

Reflex Hand 215 

Salutation Exercise 190 

Second Position 8 

Sing-song Reading 162 

Speaker's Position 8 

Stress 86 

Supine Hand, 1 86 

Thorough Stress 96, 100 

Tip-toe Exercise 129. 161 

Torsion of the Arm 103 

of the Body 92 

of the Neck 112 

Tremor Stress 97, 101 

Waist Exercise , . . 77 

Wavering Position 233 



Alphabetic Index of Authors Quoted. 



Alexander. Mrs Art. 98 

Bacon, Francis 258 

Beecher, Henry Ward 13G 

Bible.... 72, 136, 155, 187, 240 
Bryant, William Cullen 

135, 171. 255 

Burdette, Robert J 281 

Burns, Robert 187 

Byron, George Gordon.. 29, 252 
Campbell, Thomas. 199,210.273 

Carleton, Will 34 

Chalmers, Thomas 132 

Coleridge, Samuel T. . .100. 232 

Colton, Walter 277 

Cowper, William 248 

Croly, George 75. 199 

David 72 

Dewey, Orville 81, 291 

Drake, Joseph Rodman ... 28 

Dryden, John 261 

Everett, Edward 245 

Finch. F. M 209 

Gray. Thomas 53, 80 

Halleck, Fitz Green 150 

Hemans, Felicia I). . . .15 7. 265 

Henry. Patrick 204 

Hoppin, W. J 101, 23G 



7 



, 



Kellogg. Elijah 41 

Kingsley. Charles 145 

Longfellow, Henry W 

9. 28, 62, 126. 269 

Lynn, Ethel 209. 258 

Miller. Joaquin 235 

Mitford, Mary R 229 

Ossian 64 

Patton, George W 32 

Pitt, William 142 

Poe, Edgar A T. 172 

Pope, Alexander 156 

Prentice, George D 54 

Read, Thomas B 163. 170 

Samuel 240 

Scott, Walter. .43. 44, 204. 223 
Shakespeare. Wm..33, m. 74 

144. 158. 193. 199. 222. 237 

252. 258 

Sheridan, R. B 99. 252 

Stephens. Ann S 193 

Taylor, B. F 63 

Tennyson. Alfred 44. '82 

Twain. Mark 42 

Whittler. John G 82 

Willis. X. P 143 



150 



